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Creator: Bassano's Ebanisteria
1900s Pair of Venice Baroque Louis XV armchairs, carved walnut with floral motif
By Bassano's Ebanisteria
Located in Vigonza, Padua
Pair of Venice Baroque Louis XV armchairs from the 20th century, walnut hand-carved with floral motifs and threads. The two armchairs are sturdy and in good condition of upholstery, ...
Category
1940s Italian Louis XV Vintage Bassano's Ebanisteria Armchairs
Materials
Walnut
19th Century Venetian Baroque Armchairs Hand Carved Walnut, Wax Polished, Straw
By Bassano's Ebanisteria
Located in Vigonza, Padua
19th Century venetian baroque armchairs in hand carved walnut, wax polished with straw seat.
Canopy of the seat recently made in perfect condition
Excellent as head of the table, ...
Category
Late 19th Century Italian Baroque Antique Bassano's Ebanisteria Armchairs
Materials
Walnut
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Andrea Brustolon (20 July 1662 – 25 October 1732) was an Italian sculptor in wood. He is known for his furnishings in the Baroque style and devotional sculptures.
Biography
He was trained in a vigorous local tradition of sculpture in his native Belluno, in the Venetian terraferma, and in the studio of the Genoese sculptor Filippo Parodi, who was carrying out commissions at Padua and at Venice (1677). He spent the years 1678-80 at Rome, where the High Baroque sculpture of Bernini and his contemporaries polished his style. Apart from that, the first phase of Brustolon's working career was spent in Venice, 1680–1685. Brustolon is documented at several Venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large studio of assistants. As with his contemporary in London, Grinling Gibbons almost all the high quality robust Baroque carving in Venice has been attributed to Brustolon at one time or another. In the Venetian Ghetto, at the Scola Levantina, Brustolon provided the woodwork for the synagogue on the piano nobile, where the carved, canopied bimah is supported on Solomonic columns, which Brustolon had seen in Bernini's baldacchino in the Basilica of St Peter's.
His furniture included armchairs with figural sculptures that take the place of front legs and armrest supports, inspired by his experience of Bernini's Cathedra Petri. The gueridon, a tall stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized figural gueridons, endlessly reproduced since the eighteenth century, found their models in Brustolon's work.
His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space.
Brustolon's walnut, boxwood and ebony pieces transcend ordinary functional limitations of furniture; they are constructed of elaborately carved figures. The framework of Brustolon's chairs, side tables and gueridons were carved as gnarled tree branches, with further supports of putti and male figures carved in ebony. Backrests of the chairs, which were never touched in the rigidly upright posture that contemporary etiquette demanded, were carved with allegories of vanity, fire and music, etc.
The most extravagant piece delivered for Pietro Venier was a large side table and vase-stand of box and ebony, designed as a single ensemble to display rare imported Japanese porcelain vases. The eclectic allegories include Hercules with the Hydra and Cerberus, males and reclining river-gods (see ref.).
For the Correr, less extrovert chairs bear female nudes extended along the armrests. For the Pisani, he carved a suite of twelve chairs (now at the Palazzo Quirinale) with flowers, fruit, leaves and branches to symbolize the twelve months of the year. Work by Brustolon is at the Villa Pisani at Stra.
In 1685 Brustolon returned to the house where he was born at Belluno, and from that time devoted himself mainly to tabernacles and devotional sculptures in walnut, boxwood or ivory. His polychromed ivory Corpus from a crucifix is in the Museo Civico di Belluno, which preserves some of Brustolon's preparatory drawings for frames to be carved with putti displaying emblems. A pair of boxwood sculptures, The Sacrifice of Abraham and Jacob Wrestling with the Angel...
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Bassano's Ebanisteria armchairs for sale on 1stDibs.
Bassano's Ebanisteria armchairs are available for sale on 1stDibs. These distinctive items are frequently made of wood and are designed with extraordinary care. There are many options to choose from in our collection of Bassano's Ebanisteria armchairs, although brown editions of this piece are particularly popular. Many of the original armchairs by Bassano's Ebanisteria were created in the louis xv style in italy during the 1940s. Prices for Bassano's Ebanisteria armchairs can differ depending upon size, time period and other attributes — on 1stDibs, these items begin at $1,690 and can go as high as $3,706, while a piece like these, on average, fetch $2,698.