A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI
A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI
A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI
A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI
133

PROPERTY OF AN IMPORTANT EUROPEAN COLLECTION

A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI

Estimate: 30,000 - 50,000 GBP

PROPERTY OF AN IMPORTANT EUROPEAN COLLECTION

A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI

Estimate: 30,000 - 50,000 GBP

Lot Details

Description

Property of an Important European Collection

A PAIR OF NORTH ITALIAN ROSEWOOD, TULIPWOOD, BOIS SATINÉ AND MARQUETRY COMMODES, LOMBARDY LATE 18TH CENTURY, IN THE MANNER OF GIUSEPPE MAGGIOLINI


each with a serpentina verde marble top, above three long drawers inlaid sans traverse depicting a landscape flanked on each side by a telamon figures, on four tapering legs

92cm. high, 128cm. wide, 59cm. deep; 3ft.¼in., 4ft. 2½in., 1ft. 11¼in.

Condition Report

In overall good restored condition. Generally with minor chips old marks and scratches to veneer surface. Both commodes with horizontal age cracks to the sides. Both marble tops with a break across the middle, which has been restored. Otherwise, with minor chipping to the edges. One corner of a marble top with three sticky areas, which could benefit from cleaning. Two keys. Ready to be placed.


"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."

Saleroom Notice

This lot contains endangered species. Sotheby's recommends that buyers check with their own government regarding any importation requirements prior to placing a bid. Please note that Sotheby's will not assist buyers with the shipment of this lot to the US. A buyer's inability to export or import these lots cannot justify a delay in payment or sale cancellation.

Cataloguing

Provenance

Etude Tajan, Paris, 25 June 1996, lot 205.


COMPARATIVE LITERATURE

G. Morazzoni, Il Mobile Intarsiato di Giuseppe Maggiolini, Milan, 1957, pl. LXV.

S. Colombo, L'arte del mobile in Italia, Milan, 1981, fig. 576. 

Catalogue Note

This pair of commodes is an important example of the Lombardian neoclassical style that was so influential in Italy in the second half of the 18th century. The fruitful development of Lombardia’s neoclassical style began with the establishment of the court in Milan: in fact, starting from 1771, Ferdinand of Habsburg commissioned the building of his Palace and of the Villa di Monza to the Italian Giuseppe Piermarini who entrusted the task of designing the stucco decoration and part of the furnishings to the Milan-based designer Giocondo Albertolli.


The commodes are noteworthy for their proportions and quality of the marquetry decorations. The architectural structure of the overall design reinforced with architectural scenes in marquetry are balanced by the telamons and foliate decorations. Furthermore, the decorations on the three drawers sans traverse are a testimony of the skills and expertise of the master who manufactured these commodes, possibly a pupil in the workshop of Giuseppe Maggiolini (1738-1814), the influential Milanese cabinetmaker.


The design of these commodes relates to an example dated from 1790 executed by the Maggiolini's workshop now in the collections of the Marquess Casati-Visconti di San Vito (illustrated in G. Morazzoni, Il Mobile Intarsiato di Giuseppe Maggiolini, Milan, 1957, pl. LXV). The main difference lies in the depiction on the central panel whereby the telamons, carrying a basket of flowers and leaves, flank on each sides a central medallion enclosing an angel. Another related example attributed to the Maggiolini’s workshop and depicting an almost identical design as the Casati-Visconti commode was offered Sotheby’s Paris, 19 April 2016, lot 219.


The present pieces may be distinguished from these two aforementioned examples by the three medallions in octagons enclosing architectural scenes with classical buildings, which could possibly depict the pyramid of Sestius and its Roman surroundings. A commode in the style of Maggiolini sold Sotheby’s London, 20 July 1972, lot 111 interestingly depicts an almost identical landscape scene with a church. 

STYLE: Private Collections
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