A PAIR OF NORTH ITALIAN ROSEWOOD TULIPWOOD AND MARQUETRY DEMILUNE COMMODES
A PAIR OF NORTH ITALIAN ROSEWOOD TULIPWOOD AND MARQUETRY DEMILUNE COMMODES

IN THE MANNER OF GIUSEPPE MAGGIOLINI, MILAN, LATE 18TH CENTURY

Details
A PAIR OF NORTH ITALIAN ROSEWOOD TULIPWOOD AND MARQUETRY DEMILUNE COMMODES
In the manner of Giuseppe Maggiolini, Milan, Late 18th Century
Each with associated Bardiglio marble top above a marquetry-inlaid panelled frieze with scrolling vines, the frieze with a central drawer, above two drawers inlaid with a banded and quarter-veneered panel centered by a reserve enclosing a bead-hung upspringing flower issuing scrolling vines, flanked by marquetry panelled urns issuing bead-hung laurel-leaf vines and a palmette, each side with a door similarly panelled enclosing an interior with a shelf, on tapering square legs, originally with a wooden top, the drawers walnut-lined
34¾in. (88.5cm.) high, 45½in (116cm.) wide, 21½in. (54.5cm.) deep (2)

Lot Essay

These commodes reflect the widespread influence of the Neo-Classical style expounded by Giuseppe Maggiolini's workshops in Parabiago, Milan in the last quarter of the 18th Century. Although initially employed almost exclusively by the Court and aristocracy, under the good government of Maria Theresa of Austria (1717-1780) the Milanese bourgeoisie enjoyed increasingly favourable economic conditions and this inevitably resulted in Maggiolin's prevailing 'Court Style' or Neo-classical idiom being made available to a wider public. Although Maggiolini himself expanded his workshops enormously to meet this demand, gradually numerous rival workshops also sprang up to meet this surge in patronage, and thus by the early 19th Century attributions to a specific workshop become almost impossible. With their characteristic use of composition in the pilasters and stylised arabesque marquetry, these commodes are characteristic of these Milanese workshops.

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