An Italian bardiglio marble topped ivory lacquered and parcel-gilt console table, Piedmontese, Turin, possibly by Francesco Bolgiè circa 1785

of rectangular form with concave sides, the bardiglio marble top above an egg-and-dart border, the frieze centred by a female mask flanked by guilloche with a patera at each corner flanking scrolled brackets on beaded quare tapering legs carved with guilloche on toupie feet, the underside of the marble with an inventory number in black ink 73

In overall very good conserved condition. The marble is an attractive bardiglio with some very minor chips and hairline cracks and scratches. The marble top would benefit to a light clean according to taste. The carving on the base is exceptional with some very minor retouching to teh decoration. The piece would benefit from a light clean according to taste. There are some very minor chips to the carving and lacquer but these are hardly noticeable and can easily be restored. However, there is a medium size chip to the egg and dart moulding front right and left corner. There is a scrolled acanthus leaf chipped off the base of one foot and two off another foot but these can easily be restored.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
E. Colle, Il Mobile Neoclassico in Italia, Arredi e Decorazioni d'Interni dal 1775 al 1800, Milan, 2005.
G. Ferraris, Giuseppe Maria Bonzanigo e la scultura decorativa in legno a Torino nel periodo neoclassico (1770-1830),Turin, 1991, Tav. 20, p. XX, Tav. 26, p. XXV. Tav. 22/23, p. XXII.

This elegant console table of strong architectural outline and most unusual form lacquered in ivory with carved details hilighted in parcel-gilding and applied with geometric motifs is reminiscent of the work emanating from the circle of Giuseppe Maria Bonzanigo, in particular Francesco Bolgiè, in the last decades of the 18th century. The quality of the carving is exceptionally fine. Bolgiè was a carver at the Court of the King of Sardinia and was active until at least 1825 and he was known as a pre-eminent maker of commodes, consoles and corner cupboards. However, there are certain stylistic elements which incorporate features from the work of other ebaniste within the Bonzanigo circle making a definitive attribution difficult.

The majority of neoclassical Piedmontese furniture of this type has been historically attributed to G.M. Bonzanigo, however, recent research has brought to light the names of other craftsmen who worked for the Court, amongst them Francesco Bolgie. Antonetto, illustrates, op. cit., p. 389, fig.12, a console table in cream lacquer with parcel-gilding with a guilloche and flowerhead frieze and projecting rear corners and concave frieze stated to be by Bolgièi, circa 1780-90, in the Palazzina di Caccia di Stupinigi, Turin.
Ferraris illustrates op. cit., Tav. 26, p. XXV, a commode by Bolgie in the apartment of the Duchess d'Aosta on the second floor of Palazzo Reale in Turin, which has the same unusual form with scrolled corbels and concave sides as on the offered table and it also has a grey marble top. Also see Ferraris, op. cit.,Tav. 22/23, p. XXII, for a pair of corner cabinets on stands by Bolgie with a similarly carved frieze with guilloche in gilt on an ivory ground, one of which is in the bedroom of the Duchess d'Aosta on the second floor of Palazzo  Reale in Turin and the other in the apartment of Madame Felicita on the first floor of the Palazzo. Finally, the mask in the centre of the frieze is very distinctive with the drapery beneath and can be seen on a commode illustrated by the same author, op. cit., Tav. 20, p. XX, this time attributed to Guiseppe Maria Bonzanigo in the same bedroom of the Duches d'Aosta (see ante).

A commode by Bolgie was sold in these Rooms, from the Estate of the late Giuseppe Rossi, 10th -12th March 1999, lot 75 (£170,000).

G. Ferraris, Giuseppe Maria Bonzanigo e la scultura decorativa in legno a Torino nel periodo neoclassico (1770-1830),Turin, 1991, Tav. 20, p. XX, Tav. 26, p. XXV. Tav. 22/23, p. XXII.

This elegant console table of strong architectural outline and most unusual form lacquered in ivory with carved details hilighted in parcel-gilding and applied with geometric motifs is reminiscent of the work emanating from the circle of Giuseppe Maria Bonzanigo, in particular Francesco Bolgiè, in the last decades of the 18th century. The quality of the carving is exceptionally fine. Bolgiè was a carver at the Court of the King of Sardinia and was active until at least 1825 and he was known as a pre-eminent maker of commodes, consoles and corner cupboards. However, there are certain stylistic elements which incorporate features from the work of other ebaniste within the Bonzanigo circle making a definitive attribution difficult.

The majority of neoclassical Piedmontese furniture of this type has been historically attributed to G.M. Bonzanigo, however, recent research has brought to light the names of other craftsmen who worked for the Court, amongst them Francesco Bolgiè. Antonetto, illustrates, op. cit., p. 389, fig.12, a console table in cream lacquer with parcel-gilding with a guilloche and flowerhead frieze and projecting rear corners and concave frieze stated to be by Bolgiè, circa 1780-90, in the Palazzina di Caccia di Stupinigi, Turin.
Furthermore, Ferraris illustrates op. cit., Tav. 26, p. XXV, a commode by Bolgie in the apartment of the Duchess d'Aosta on the second floor of Palazzo Reale in Turin, which has the same unusual form with scrolled corbels and concave sides as on the offered table and it also has a grey marble top. Also see Ferraris, op. cit.,Tav. 22/23, p. XXII, for a pair of corner cabinets on stands by Bolgiè with a similarly carved frieze with guilloche in gilt on an ivory ground, one of which is in the bedroom of the Duchess d'Aosta on the second floor of Palazzo  Reale in Turin and the other in the apartment of Madame Felicita on the first floor of the Palazzo. Finally, the mask in the centre of the frieze is very distinctive with the drapery beneath and can be seen on a commode illustrated by the same author, op. cit., Tav. 20, p. XX, this time attributed to Guiseppe Maria Bonzanigo in the same bedroom of the Duches d'Aosta (see ante).

A commode by Bolgiè was sold in these Rooms, from the Estate of the late Giuseppe Rossi, 10th -12th March 1999, lot 75 (£170,000).