Console Amboina Briar, England, 19th Century

Briar lady's casket with brass inserts. Inside compartments with coeval glass flasks and compartments in velvet and purple silk. The opening front reveals two drawers. The lids of th...

Circular top in marble committed, with polychrome chessboard in the center; the marble is framed in a rosewood support, supported by a central turned baluster resting on three shaped...

Console in French neoclassical style with top in breccia, carved in all its parts and partially highlighted in gold; lion feet. The two front legs have lion heads carved at the point...

Large parade console table, supported by uprights ending in curly feet, richly carved with leafy scrolls and female figures depicted up to the torso, connected by a cross moved with ...

Wall table supported by two legs moved to “S”, connected to the band under the top by carved shelves; grey marble top molded on the edge. The band is carved with pods and finished with a ribbon frame. The uprights end with two curly feet, which are carved on the four faces with overlapping circles and plant motifs; above the feet, a small shelf connects the two uprights. It is carved by a Greek fret with rosettes, surmounted by a classic vase with flowers and finished in the lower part by a leafy head. The whole surface is gouache-gilded. The piece of furniture presented here is to be referred to the Turin production and in particular to the work of Francesco Bolgiè, since the points of contact with his work are stringent. Born in Turin in 1752 to a family of carvers, after a Parisian training, he was a member of the Compagnia di San Luca in 1775 and appointed Royal Sculptor by Vittorio Amedeo, the first of all carvers to obtain this title. After Bonzanigo, Bolgè is the most desired artist at the Savoy court and, although his fame was overshadowed by the greatness of the first, he was a carver of great ability, it is not true that the authorship of the two productions have often been confused. The inventories show that if Bonzanigo was much more used for the production of chairs, screens and frames that required more minute carving, it was mainly Bolgè who was entrusted with the production of furniture and consoles. Entering into the console analyzed here, the first stringent comparison is to be made with the four corner cabinets created for Madama Felicita’s apartment in the Royal Palace. The “S” -shaped legs have the same curl as the foot placed here under the top and the frontal notch of the uprights is identical. The closeness between the carved vase of the console and those placed on the top and between the legs of the corner cabinets cannot be overlooked, even if ours, being placed in a prominent position, is richer and more elaborate. It is possible to find the same curl pattern as a shelf used...

Carved and gilded wooden console table. It rests on four opposing double-curved supports ending in full-bodied curling volutes held by masks; carved female caryatids rest on the uppe...

North China Hotel console. Teak, 19th century Measures: L 157 x H 82 x P 50.  

Handsome, hand-carved, claw foot, florentine console table with inlaid, serpentine top.

19th century Baltic mahogany large-scale console. Classic form with original carved, painted and parcel-gilt dolphin form legs. Two drawer top and a sm...

19th century Chinese console table. Three drawer thin console table elegant refined lines with ring pull handles. Detailed arch apron top of legs ta...

Small scale french console. Great Patina.

This is a beautiful Spanish Consol table as normal the Spanish were notorious for adding metal to their items. The scroll braces underneath as well as the iron bolts that show in the...