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Lot Essay
These African figures, with the marine elements of the dolphins elegantly entwined around them, are perfectly emblematic for Venice, the great port with centuries of sophisticated international relations.
There are many examples, of course, of richly carved Baroque and Rococo figural torcheres commissioned for decorating Roman, Genoese, Florentine and even Milanese palazzi. But it was Venice, in particular, where these were especially popular. The most spectacular and exaggerated examples are, as always, by the master carver Andrea Brustolon, and there are multiple torcheres by Brustolon presently in the Ca' Rezzonico collection some of which relate to the present group (see C. Alberici, Il mobile Veneto, Milan, 1980, nos. 229-239). However, one torchere with its chunky rockwork base and writhing putti and marine animals upholding a shell tazze, is particularly close to the present lot. Another interesting comparison is a pair of Florentine torcheres from the late 17th century, also in the form of African figures holding cornucopia, that share many of the same design elements as this group.
While there does not appear to be any records of Antonio Ferici, the name inscribed on three of the bases, it is possible he was responsible for their restoration in the 1870's.
There are many examples, of course, of richly carved Baroque and Rococo figural torcheres commissioned for decorating Roman, Genoese, Florentine and even Milanese palazzi. But it was Venice, in particular, where these were especially popular. The most spectacular and exaggerated examples are, as always, by the master carver Andrea Brustolon, and there are multiple torcheres by Brustolon presently in the Ca' Rezzonico collection some of which relate to the present group (see C. Alberici, Il mobile Veneto, Milan, 1980, nos. 229-239). However, one torchere with its chunky rockwork base and writhing putti and marine animals upholding a shell tazze, is particularly close to the present lot. Another interesting comparison is a pair of Florentine torcheres from the late 17th century, also in the form of African figures holding cornucopia, that share many of the same design elements as this group.
While there does not appear to be any records of Antonio Ferici, the name inscribed on three of the bases, it is possible he was responsible for their restoration in the 1870's.