A NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT CONSOLE TABLE
A NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT CONSOLE TABLE
A NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT CONSOLE TABLE
A NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT CONSOLE TABLE
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Please note this lot will be moved to Christie’s F… Read more
A NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT CONSOLE TABLE

POSSIBLY LOMBARDY, CIRCA 1820

Details
A NORTH ITALIAN CREAM-PAINTED AND PARCEL-GILT CONSOLE TABLE
POSSIBLY LOMBARDY, CIRCA 1820
The green marble top on frieze carved with palmettes and leaves, raised on two winged term supports with hoof feet, on faux marble plinth
37 in. (94.5 cm.) high, 57 1⁄2 in. (146 cm.) wide, 24 in. (61 cm.) deep
Provenance
The Chinese Porcelain Company, New York.
Special notice
Please note this lot will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) at 5pm on the last day of the sale. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services. Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.

Brought to you by

Elizabeth Seigel
Elizabeth Seigel Vice President, Specialist, Head of Private and Iconic Collections

Lot Essay

The design of this striking console table, with winged maiden herm monopodia supports à l'antique, relates to the oeuvre of French architect-designers Charles Percier (1764-1838) and Pierre-François-Léonard Fontaine (1762-1853). The 1812 edition of their popular work Recueil des Décorations Intérieures influenced many Italian designers working in the Empire taste such as Giuseppe Berlendis, Pietro Ruga, and Lorenzo Roccheggiani, whose 1811 publication entitled Invenzioni diverse di mobili ed utensili Sacri e Profani was directly influenced by Percier and Fontaine’s catalogue. The winged figures of the present table relate to not only Ruga and Roccheggiani’s bold neoclassical creations from the abovementioned catalogue but also to those of Luigi Canonica and Giuseppe Foresti, whose furniture designs were often executed in a gold and white or cream color scheme in the Lombard workshops. The particularly bold palmettes and the plump fluted bodies of the herm supports indicate that this table was conceived in the later phase of the Italian Empire style, which persevered until the mid-1840s and remained popular with both the aristocracy and the fashion-conscious bourgeoisie. Designers active duing this period include Antonio Basoli, Domenico Moglia, Gennaro Aveta, and Giuseppe Borsato, all of whom were highly prolific in the 1830s.

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