The shepherdess painted amongst nature and animals, beside the water’s edge, a hidden falconer observing from behind a wutong, housed within a mid-eighteenth-century English giltwood frame

The art of painting on mirrors emerged in China after 1715, following the arrival of the Jesuit missionary Father Giuseppe Castiglione in Beijing. Castiglione quickly gained favor with the Yongzheng and Qianlong Emperors and was entrusted with decorating the Imperial Garden. While in China, he introduced the technique of oil painting on glass—already practiced in Europe but previously unknown in China.

Skilled Chinese artists, already masters of painting and calligraphy, soon adopted the method. They would trace their designs onto the back of a mirrored plate, then use a fine steel implement to scrape away the reflective backing, revealing the clear glass beneath. This surface could then be painted, creating luminous, layered compositions. These reverse-painted glass works were produced almost exclusively for export, driven by the European fascination with Chinese art and craftsmanship.

This mirror painting is an exceptional example of the Shepherdess genre, created by artists from interconnected workshops along the Canton waterfront. The scene features a shepherdess, seemingly unaware of a hidden falconer observing her. His discreet presence adds intrigue and narrative depth, suggesting inspiration from a Chinese poem or play, designed to captivate both Chinese and Western audiences. Other hallmark elements of the genre—such as a flute player and a small dog—enhance the charm and liveliness of the composition.

The motif of a concealed falconer appears in similar works, such as those in the Lady Lever Gallery, the Roger Keverne Collection, and the Horlick Collection, all discussed in Thierry Audric’s recent study. Canton artisans developed this distinctive style, skillfully blending Chinese and European aesthetics while mastering the challenging technique of reverse painting on glass. This meticulous process required exceptional precision, as artists had to paint in reverse order, starting with the fine details. The present example stands out as one of the finest, distinguished by the intricate detailing in the clothing, animals, and background scenery.

Reverse glass paintings endured a perilous journey from their inception. Sheets of glass were initially shipped from Europe to Canton, where Chinese artisans carefully executed the paintings in reverse. Once completed, they were packed and transported back to Europe. While they originally arrived in black lacquer frames, many were later set into elaborate giltwood frames in the Chippendale or Chinoiserie style to better suit European tastes. The incorporation of this mirror painting into a large overmantel frame with border glass makes it particularly rare and significant.

Notable overmantel mirrors incorporating Chinese mirror paintings include an example from the collection of Pierre Durrand sold at Christies on 27^th January 2022 (lot 69, $ 600,000). Another striking example, formerly part of the Hon. Mrs. George Keppel’s collection, sold at Christie’s New York on 18-19 April 2012 (lot 57, $290,500) and later at Christie’s London on 7 July 2016 (lot 322, £194,500).