A pair of Italian rococo carved, lacca povera and etched glass girandoles, Venice, mid-18th century

each with a cartouche shaped and beveled glass, with lace pattern to the beveled edges, one mirror plate depicting a lady in the dress of a shepherdess, the other a gentleman dressed as a bird catcher, each figure stands beneath a baldachin, the arte povera cresting surmounted by a stylized scallop shell, the lacquer blue, red and gilt frames painted with sprays of flowers and acanthus and carved with flowers and scrolling acanthus, the candle arms with removable painted metal stylized flowers,

Related Literature

C. Alberici, Il Mobile Veneto, Milan, 1980, p. 204, cat. 271, bureau bearing Locatelli’s trade label;

E. Colle, Il Mobile Rococò Arredi e Decorazioni D’interni Dal 1738 al 1775, Milan, 2003, pp. 338-39, fig. 79, one bureau from the Rossi Collection;

S. Levy, Lacche Veneziane Settecentesche, Milan, 1967, pp. 286-88;

C. Santini, Le Lacche dei Veneziani Oggetti d’uso quotidiano nella Venezia del Settecento, Modena 2003, pp. 79-80, figs. 7 and 8.

These charming girandoles are in very good conserved condition. Both present minor retouching to gilding and painted decoration, but overall the painted areas are in excellent condition, including the painted prints. With a yellowish varnish and consistent craquele throughout. The painted tole removable appliques have been conserved with some repainting and resoldering and seemed to have been partly reconstructed, therefore with many new elements. One flower head loose and needing to be secured. The metal backing and fitting for these are possibly not original. Mirror 1 – with Lady There is a small repair to the right hand side carving, visible only from inspecting the back. The mirror plate in good condition with no breaks or cracks, displaying very minor pitting to silvering and minor losses. Mirror 2 The mirror plate in good condition with no breaks or cracks, displaying minor pitting to silvering as well as some small minor losses to the sides.
"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."

Famous for its beauty and "frivolity", Venice is truly a jewel in the crown of Europe, famously described by Byron as ‘The pleasant place of all festivity, The revel of the earth, the masque of Italy’. From the 16^th century Venice rose in culture, wealth, commerce and position - the social elite travelled far and wide to see her magnificence. By the 18^th century Venice had reached a pinnacle in opulence and was producing some of the most elegant and refined works in Europe, in particular the glass, mirror and lacquer work was of the highest calibre, the offered girandoles are certainly no exception.   

Glass manufacture began as early as the 10^th century and moved in the latter part of the 13^th to the island of Murano; this for fear of a great fire which might engulf the then largely wooden city. The art of glass making grew in popularity and, perhaps somewhat obviously, the Venetian artisan became highly coveted.  So precious in fact that at one time a ban on the export of glassmakers’ tools and glass fragments was in effect in Murano - threats of extreme violence were offered to those Specchieri who even dared contemplate venturing abroad with their secrets. The beautifully engraved mirror plates in the offered lot are a fine example of this expertise; made more unusual by the repeat floral and lattice design, emulating intricate lacework, covering the outer bevelled edge. Attention to detail leaving a harmonious affect from the glass to the gilt and painted carving.

Further to her glass mastery Venice is also the gateway from East to West, the constant ebb and flow of trade allowed her to see all exotic lacquer work imported from the Far East. Soon Venice would begin to emulate this foreign and marvellous technique using various methods. This lot particularly opted for arte povera, or lacca povera – for further discussion and example of arte povera see lot 24 within this sale. The girandoles are an excellent example of the art-form; combining the skill of the carver and the array of colours, the light blue and Venetian red creating an overall visage which is both handsome and accomplished. A mirror using similar technique, formerly in the distinguished collection of Giuseppe Rossi, was sold Sotheby’s London, 10 March 1999, lot 123. The Rossi mirror, whilst differing in form, shares characteristics to the offered lot, most notably the use of colour interspersed with stylised foliage in gilt using brushstrokes to highlight and the delicate floral arte povera decoration. Also the carving of the giltwood cresting, use of open flowerheads, ‘C’ scrolling leaves and central art povera landscape scenes are worthy of note.

The Rossi mirror and the remaining remarkable and rare suite, also within the Rossi sale, were associated with Giacomo Locatelli, see lots 123–127. This owing to lot 126 within the sale, a pair of lacquered and arte povera bureaux (see fig. 1 and Colle, Il Mobile Rococò Arredi e Decorazioni D’interni Dal 1738 al 1775, Milan, 2003, pp. 338 – 339, fig. 79). The Rossi pair are highly similar to a bureau bearing a very rare trade label, inscribed ‘Lavori Di Giacomo Locatelli all’ Insegna del Redentore in Merceria Venezia’ (cf. Alberici, Il Mobile Veneto, Milan, 1980, p. 204, cat. 271, the trade label reproduced in the Rossi sale catalogue). These three bureaux, and the remaining Rossi suite, share a number of qualities to the offered girandoles. The application of the arte povera, painted and applied gilt and the detailing of the brushwork in black paint to the scrolled gilt decoration displays mastery of the day. The level of skill in the decoration of the girandoles would suggest a hand in similar standing as that of Locatelli, if not by him. One further addition to these splendid mirrors is the decorative painted metal flowerheads in the candleholders.  This is a final example of the attention and care taken in the creation of these superb girandoles – this detail, in combination with, the engraving of the glass, use of paint, gilt and arte povera makes this lot an exceptional example of Venetian lacquer and glass work of the 18^th century.