The frame, evoking 'light' and 'truth' with golden spheres and antique-bronzed bas-reliefs in celebration of the Egyptian sun-deity Isis, reflects the antique fashion promoted by George Smith's, Collection of Designs for Household Furniture and Interior Decoration, London, 1808. With its ribbon-fretted Zodiac signs accompanied by winged sun discs supported by Egytian hermed and cobra-enriched pilasters, it relates in particular to Smith's pattern for a mirror frame in a bedroom, whose ornaments he advised should represent 'bronzed metal' apartment (pl. 127). It exemplifies the combined Egyptian and French antique taste promoted by the connoisseur Thomas Hope and his architect C.H. Tatham; and in particular through Hope's commission of Egyptian furniture enriched with bas-reliefs (see T. Hope, Household Furniture and Interior Decoration, 1807). Hope's publication, which coincided with George III's presentation to the British Museum of some French-gathered Egyptian antiquities, promoted the concept of furniture being made to 'speak' a symbolic language. This language is reflected both in this Dublin mirror, and the other antique patterns issued by George Smith (d. 1826), 'upholder extraordinary to the Prince of Wales [later King George IV]'.
It bears the label that had been adopted in 1805 by the Dublin court carver, gilder and looking glass maker Joshua Kearney, following his establishment in Henry Street (J. Peill and the Knight of Glin, Irish Furniture, New Haven and London, 2007, p. 293). It is possible that it was executed around 1813 following the establishment in that year of the 'Bronze figure manufacturer' Cornelius de Groot as Kearney's neighbour at no. 60 Henry Street. De Groot's label, as 'Carver, Gilder and Picture Frame Maker' (ibid., p. 276) has been recorded on a similar mirror from Milltown House, co. Limerick, and was sold anonymously, Christie's, London, 19 November 1987, lot 34 (£16,500).