SELECTED

The fore Lift

Code:  ANTRIB0000125

not available
SELECTED

The fore Lift

Code:  ANTRIB0000125

not available
Product Details

Style:  Barocchetto (1720-1770)

Time:  The EIGHTEENTH Century - 1700

Origin:  Lombardia, Italia

Main essence: 

Material:  Maple , Bronze , Solid Cherry Wood , Veneer Walnut

Description:
Mobile the two bodies. On the basis of a chest of drawers slightly move with four drawers one of which is thin placed under the leaf to the fore; the lift is composed of two wings shaped in the upper part to follow the movement of the cornice in architecture. The furniture veneered in walnut has the classic frames ebanizzate that contain reserves in cherry in which they are inserted to inlay the masks of the commedia of the art, finely etched. In the flanks, alternating inlays of musical instruments to the figures of Harlequin, Pulcinella and Brighella; in the drawers in the reserves side have inlays landscape, the central repeat a seated figure. The four masks that fill the panels of the doors of the lift, among which we recognise the Trousers, the Captain, Milanese and Balanzone. The central space of the lift system is dedicated to the female figure of the Dove, in two reserves in the side, there are two baskets of flowers. The inside of the tilting door has a scarabattolo with 10 small drawers and secret inlaid with architectural motifs. All of the mobile also features floral inlays on the entire surface, while in the cornice are inlaid with a bird. Interior spruce, and knobs in bronze.

Product Condition:
The mobile has never been changed and is in the first patina.

Dimensions (cm):
Height: 241
Width: 107
Depth: 54

Additional Information

Notes historical bibliographic:
This, to be placed in the last quarter of the 18th century. due to the presence of two flower baskets already neo-classical style, is of undoubted Lombard production for shape, construction, the use of wood and frames ebonized frames. It does have characteristics that suggest a Piedmontese influence, especially in parts inlaid particularly cured in the engraving, marquetry floral in taste to fill the posts and crossbar but also in the reserves in black picture frames, in the shape resemble the patterns of Web panels. The inlay of the scarabattolo presents strong analogies with a Piedmontese furniture production that the scholar Roberto Antonetto ¹ analyzes and combines in its height. among these items is the practice of recovering inlaid décor of Augsburg, sometimes parts of the cabinets, sometimes the only marquetry coating, to use it to serve Piedmontese furniture. Even in our mobile scarabattolo it looks like done with the recovery of some Cabinet probably oldest inlays of Augsburg. If then is a boundary between Lombardy and Piemonte or Piedmont a cabinetmaker who moved to Lombardy we can not know. Unusual but full eighteenth is a tribute to the commedia dell'arte in inlay outside of the housing. ¹ Antonetto Roberto, the 18th-century Piedmontese mobile 2010, 2 vols. ed. Allemandi, see pages 94-97 vol. II

Barocchetto (1720-1770):
Con questo termine si designa, per quanto specificatamente attiene alla mobilia, una parte della produzione eseguita in Italia nel periodo di tempo compreso tra l'epoca rococò e la prima fase del neoclassicismo. Si caratterizza per l'impianto formale e decorativo ancora rigidamente in adesione ai dettami cari al periodo barocco (da cui il termine barocchetto) e alle mode Luigi XIV e tuttavia vi si colgono i nuovi tempi nell'adozione di volumetrie più contenute, moduli decorativi più eleganti, spesso direttamente ispirati alla moda francese, ma sempre eseguiti con rigorosi principi di simmetria ornamentale. La tendenza ad assimilare novità formali e volumetriche ma non a recepirne l'elaborazione ornamentale trova naturale spiegazione in Italia nel fatto che in questo secolo la grande aristocrazia conosce un irrefrenabile declino politico e economico. Se nel secolo precedente vi fu gran profusione di arredi destinati a ornare dimore di recente costruzione, per mostrare con orgoglio la potenza della famiglia committente, nel Settecento si bada piuttosto ad aggiornare il palazzo con la sola mobilia strettamente necessaria alle nuove esigenze imposte dalla moda o da necessità funzionali. Si mantiene il vecchio apparato scenografico e il nuovo non deve troppo contrastare.

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