Several examples of trespoli are illustrated by G. Morazzoni, op. cit., plates CCIII–CCXI, including in plate CCVII, a piece with a simpler version of the turned baluster stem seen on the present set. Several blue, red and green-lacquered trespoli, including a group from the Ca’ Rezzonico, Venice are illustrated by Saul Levy, op. cit., plates 230-37, and a further example from the Ca’ Rezzonico is illustrated by Enrico Colle, op. cit., p.346.
The technique of lacca povera (also termed arte povera or lacca contrafatta) was developed as a means of imitating the effects of costlier and more time-consuming painted lacquer decoration on furniture and smaller wooden objects. The process involved applying motifs cut out from ornamental prints and covering them with a varnish known as sandracca. Although the technique was fashionable in other European countries, notably the Scandinavian courts and in France, where such work was called découpure, the leading centre for production was in Venice, whose workshops created results every bit as sophisticated as true lacquer decoration. The best quality prints were actually produced outside of Venice in nearby Bassano by the celebrated firm of Remondini, which was started by the publisher and engraver Giovanni Antonio Remondini (1634-1711) in c.1660 and continued by his descendants well into the 19th century.
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