Reflections of the Imagined East

Reflections of an Imagined East: Early 20th-Century Chinoiserie Mirrors

Chinoiserie has long occupied a unique place in the history of European decorative arts, a style born not from direct imitation, but from fascination, fantasy, and cultural exchange. These two pairs of early 20th-century Chinoiserie mirrors presented here both for sale by Rogers-Forghani, sit firmly within this rich tradition, reflecting centuries of Western engagement with the aesthetics of East Asia while speaking effortlessly to modern interiors today.

The Origins of Chinoiserie.

From the early 16th century, European traders and explorers brought back luxury goods from East Asia, porcelain, silk, lacquerware and carved furniture, that captivated Western audiences. These objects, arriving via expanding trade routes through Macau, Canton, and the Dutch East India Company, were prized not only for their craftsmanship but for their perceived exoticism.

By the 17th and 18th centuries, European designers began to reinterpret these imported works, blending Chinese, Japanese and Indian motifs into a distinctly European fantasy. There was little concern for geographical accuracy; instead, Chinoiserie became an imaginative world populated by pagodas, sweeping roofs, exotic birds, mythical beasts, and figures dressed in vaguely “oriental” costume. It was this dreamlike quality that made the style so appealing.

The Golden Age and Lasting Influence

The 18th century marked the golden age of Chinoiserie. Designers such as Thomas Chippendale fused Rococo exuberance with Chinese-inspired ornament, while Sir William Chambers — one of the few Europeans to have travelled to China — introduced a more studied interpretation through his buildings and publications. Chinoiserie spread beyond furniture to wallpapers, mirrors, porcelain, garden architecture and interior schemes, becoming synonymous with elegance, curiosity and worldliness.

Although the style fell out of favour with the rise of Neoclassicism and waned further after political tensions in the 19th century, it never disappeared entirely. Periodic revivals, particularly during the late 19th century and early 20th century, reinterpreted Chinoiserie for new audiences, often with bolder colours, graphic contrast and renewed interest in lacquered surfaces.

Early 20th-Century Revival Mirrors

The two pairs of mirrors showcased here belong to this later revival, when Chinoiserie was embraced once again as both decorative art and statement design.

The Green Chinoiserie Mirrors

The first pair, finished in a rich green lacquer and retaining their original glass, are animated with finely rendered scenes of animals, figures and architectural landscapes. These mirrors echo the fantastical panoramas of 18th-century Chinoiserie, imagined vistas filled with movement and narrative, yet their early 20th-century execution gives them a crispness and confidence well suited to contemporary settings. The survival of the original glass adds greatly to their authenticity and charm.

The Black Queen Anne–Style Mirrors

In striking black lacquer and Queen Anne inspired frames, feature scenes of geisha figures set amongst gardens and birds. Here, European formality meets an idealised vision of Japan, a combination particularly popular in the late 19th and early 20th centuries as Japonisme and Chinoiserie overlapped. The contrast between the dark ground and delicate imagery creates mirrors of great decorative impact — elegant, theatrical, and timeless.

Chinoiserie Today

What makes Chinoiserie so enduring is its ability to transcend strict historical categories. Though rooted in centuries of cultural exchange and misinterpretation, it continues to resonate because of its visual richness and imaginative freedom. These mirrors are not ethnographic objects; they are expressions of how the West has long dreamed of the East playful, romantic, and decorative.

Placed in a modern interior, they offer both reflection and escapism. Whether hung above a mantelpiece, flanking a doorway, or anchoring a contemporary room with a sense of history, they bring depth, narrative and artistry to a space.

Conclusion

These two pairs of early 20th-century Chinoiserie mirrors stand as elegant survivors of a long and fascinating tradition. They reflect not only the rooms they inhabit, but centuries of artistic curiosity, global exchange, and decorative imagination. For collectors and interior designers alike, they offer a rare opportunity to acquire objects that are at once historically resonant and strikingly relevant today.