A pair of Italian Baroque carved giltwood torchères in the manner of Filippo Parodi, Genova, second quarter 18th century

With scattered age cracks. Small restored breaks, the largest being one to the rockwork base of one torchere. Probably regessoed, gesso now with scattered losses. Regilt, gilding now with some rubbing and losses; not extensive. In good restored overall condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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Filippo Parodi (1630-1702) was the most important sculptor of the Baroque in Genoa, Liguria at a time when his field was dominated by artists from neighboring Lombardy. After training in Bernini's studio in Rome, he returned to Genoa and worked with the French sculptor Pierre Puget, whose work noticeably influenced Parodi's oeuvre. During the first half of his career, Parodi executed pieces mostly in wood and he only began working with marble from the 1670s. Parodi produced a number of pieces in wood that share similarities with these torchères such as the noticeable overall influence of the Roman Baroque, with which he became familiar during his apprenticeship with Bernini. A set of four figural reggiotorcieri set on similar rockwork bases by Parodi are now in the Palazzo del Principe, see Alvar González-Palacios, Il Mobile in Liguria, Genoa, 1996, pp. 82-83. A monumental mirror also by Parodi at the Villa Faraggiana in Albisola is not only surmounted on a comparable rockwork base but also features such imitation stone as its frame, see Alvar González-Palacios, Il Tempio del Gusto, vol. II, p. 382. A design for a torchère by Filippo's son, Domenico (1668-1740) at the Victoria and Albert Museum in London shows a piece with putti supported by a rockwork base, see ibid., p. 391 fig. 833, suggesting that this design was much used by Filippo Parodi and was considered an artistic heritage by his son who chose to continue using this motif. A pair of torchères incorporating maidens with similarly sculpted faces also in the manner of Parodi was offered Sotheby's New York, 17 May 2002, lot 397. Another, with comparable bases and similarly carved fish tails was formerly at Warwick Castle and sold Sotheby's London, 7 December 2005, lot 144.