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A SUITE OF SIX ITALIAN ARTE POVERA AND LACQUER GUÉRIDONS A TRESPOLI, VENETIAN, MID-18TH CENTURY |
Estimate
15,000 - 25,000 EUR
bidding is closed
Description
- Height 84 cm, larg. 40 cm, prof. 30 cm ; Height 33 in; width 15 3/4 in; depth 11 3/4 in
the serpentine tops decorated with arte povera scenes of Chinese figures in landscapes surrounded by floral sprays and rocaille borders on a yellow ground with a serpentine apron carved with C-scrolls, on a turned baluster stem simulating Rosso di Verona marble with a central turned globular section decorated with arte povera flowers on a cream ground, on three red-lacquered S-scroll feet
Literature
Comparative literature:
Enrico Colle, Il mobile Rococò in Italia, Milan, 2003, p. 346
Saul Levy, Lacche Veneziane Settecentesche, Milan, 1967, plates 230-37
G. Morazzoni, Il Mobile Veneziano del Settecento, Milan, 1958, plates CCIII–CCXI
Enrico Colle, Il mobile Rococò in Italia, Milan, 2003, p. 346
Saul Levy, Lacche Veneziane Settecentesche, Milan, 1967, plates 230-37
G. Morazzoni, Il Mobile Veneziano del Settecento, Milan, 1958, plates CCIII–CCXI
Catalogue Note
Although numerous examples of classic Venetian trespoli are recorded, this fine set is extremely rare due to their number and the combination of lacquer and arte povera would seem to indicate that they were conceived for a sumptuous interior. 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.
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.