Items Similar to Pair of Italian 19th Century Baroque Carved Arm Throne Chairs, Figural Carvings
Video Loading
Want more images or videos?
Request additional images or videos from the seller
1 of 22
Pair of Italian 19th Century Baroque Carved Arm Throne Chairs, Figural Carvings
About the Item
Pair of Italian 19th century Baroque carved arm throne chairs. The pair with figural carvings and putti sleeping on beds of leafs, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon (1662-1732). The ornately carved thrones, each flanked with figures of standing males supporting a branch-carved armrests with vines. Raised on cabriolet scrolled legs.
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 1678-1680 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 18th 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, integral with scrolling barocchetto stands, were in the collection of Justus Liebig (Liebigshaus, Frankfort). An altarpiece, circa 1720, is at the Victoria and Albert Museum, London.
He died in Belluno in 1732.
Valentino Panciera Besarel (1829-1902) was Andrea Brustolon's great heir of the 19th century in wood carving; he presented himself as Brustolon's natural successor and alter ego. He studied from 1855-1857 in Venice and his career developed the most in there and in Belluno, although it was also turned to countries beyond the Alps. He applied in furniture and in ecclesiastical and secular decoration, showing his talents in furniture and frames making.
References:
Catalogue by Massimo de Grassi, Valentino Panciera Besarel, Verona, 2002) and was the subject of a monograph, Giovanni Angelini, Gli Scultori Panciera Besarel (Belluno 2002).
Biasuz G., and Buttignon M.G., 1969. Andrea Brustolon (Istituto Veneto Arti Grafiche) 1969
Gonzales-Palacios, Alvar, 1967. Il mobilio del '700 veneto
Semenzato, G., 1967. La scultura veneta del Seicento e del Settecento (Turin: Alfieri)
Valcanover, F., 1960. Indice delle opere d'arte della città e provincia di Belluno (Venice)
Biasuz, G., and E. Lacchin, 1928. Brustolon, preface by U. Ometti (Venice: Zanetti).
- Dimensions:Height: 51 in (129.54 cm)Width: 37.5 in (95.25 cm)Depth: 31 in (78.74 cm)Seat Height: 21.5 in (54.61 cm)
- Sold As:Set of 2
- Style:Baroque (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1880s
- Condition:Wear consistent with age and use. Minor fading.
- Seller Location:Stamford, CT
- Reference Number:
About the Seller
4.9
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1975
1stDibs seller since 2009
1,597 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: Stamford, CT
- Return PolicyA return for this item may be initiated within 1 day of delivery.
More From This SellerView All
- Italian Renaissance Arm / Office Chair, Carved, Leather Seat, 19th CenturyLocated in Stamford, CTItalian Renaissance Arm / Office Chair, Carved, Leather Seat, 19th Century A finely carved example having a worn, in good condition, leather seating a...Category
Antique Early 1900s Italian Renaissance Armchairs
MaterialsLeather, Wood
- Pair of Dutch Mid-Century Modern Style Arm / Lounge Chairs, Teak, BrassLocated in Stamford, CTPair of Dutch Mid-Century Modern style arm / lounge chairs, teak, brass Pair of modern lounge chairs having a solid organc shape teak frame with brass accents. The cushions are newl...Category
Early 2000s Dutch Mid-Century Modern Lounge Chairs
MaterialsBrass
- Pair Of Louis XVI Style Bergere Arm Office Chairs Manner Of JansenLocated in Stamford, CTPair Of Louis XVI Style Bergere Arm Office Chairs Manner Of Jansen with brass cap feet, floral motif fabric. Made in France this pair having strong sturdy frames in the Louis XVI F...Category
Vintage 1940s French Louis XVI Armchairs
MaterialsWood
- Pair French Mid-Century Modern Pierre Guariche Lounge / Arm Chairs France ExportBy Pierre GuaricheLocated in Stamford, CTPair French Mid-Century Modern Pierre Guariche Lounge / Arm Chairs France Export French modern lounge chairs designed by Pierre Guariche for Free-Spa...Category
Vintage 1960s French Mid-Century Modern Armchairs
MaterialsWood
- Pair of Mid-Century Modern Lounge Chairs, American, Walnut, 1960sBy Paul McCobbLocated in Stamford, CTPair of Mid-Century Modern lounge chairs. These sleek and elegant arm or lounge chairs from the 1960s depict the Mid Century Modern era at its peak. Each having strong sturdy frames...Category
Mid-20th Century Mid-Century Modern Lounge Chairs
MaterialsFabric, Wood
- Bruno Mathsson, Mid-Century Modern, Mina Arm Chair, Grey Shearling, Pine, SwedenBy Mathsson International, Bruno MathssonLocated in Stamford, CTMid-Century Modern 'Mina' lounge / arm chair stamped Bruno Mathsson, Sweden, 1950s Iconic Mid-Century seating in later sheepskin over te...Category
Mid-20th Century Swedish Mid-Century Modern Armchairs
MaterialsSheepskin, Wood
You May Also Like
- Pair of French 19th-20th Century Baroque Style Carved Thrones ArmchairsLocated in Los Angeles, CAA pair of French 19th-20th century Baroque style carved walnut and needlepoint upholstered hall throne armchairs with raised carved armrests and fluted conjoint legs. The tapestries ...Category
Antique 1890s French Baroque Armchairs
MaterialsWool, Walnut
- Pair of 19th Century Baroque Revival Style Carved Walnut Throne ArmchairsLocated in Los Angeles, CAA fine pair of Italian 19th century Baroque Revival style carved walnut throne armchairs. The high-back frames with recent upholstered back and seat and open carved scrolled armrests...Category
Antique 19th Century Italian Baroque Revival Armchairs
MaterialsFabric, Walnut
- 19th Century Italian Baroque Carved Walnut Throne ChairLocated in Sheffield, MAA richly carved walnut Italian throne chair. This arm chair could make a wonderful statement in any room. Use it for a desk chair, next to a fireplace, an office or in the living roo...Category
Antique 19th Century European Baroque Armchairs
MaterialsLeather, Walnut
- Pair of Palatial Venetian Walnut Carved Mid-19th Century Baroque Figural ThronesBy Valentino BesarelLocated in Los Angeles, CAA very fine pair of palatial Venetian walnut carved mid-19th century Baroque figural throne armchairs, attributed to Valentino Panciera Besarel (Venice, 1829-1902) in the manner of Andrea Brustolon (1662-1732). The ornately carved thrones, each flanked with figures of standing males supporting a branch-carved armrests with vines. Raised on cabriolet scrolled legs. Provenance: The Castello di Giove in Umbria, Italy, circa 1870-1880. Height: 54 1/4 inches (137.8 cm.) Width: 37 1/4 inches (94.6 cm.) Depth: 32 inches (81.3 cm.) 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...Category
Antique 19th Century Italian Baroque Armchairs
MaterialsLeather, Walnut
- Pair of 19th Century Hand Carved Walnut Curved Back Arm ChairsLocated in Lambertville, NJA pair of hand carved walnut rounded back armchairs with new upholstered seat. The chairs with a warm age patination to the wood with hand carved backs.Category
Antique Late 19th Century American Armchairs
MaterialsWalnut
- Antique 19th C Venetian Baroque Carved Arm Throne Chair After Andrea BrustolonBy Andrea BrustolonLocated in LOS ANGELES, CAAntique 19th C Venetian Baroque Carved Arm Throne Chair After Andrea Brustolon. It features elaborate carved details with polychrome and giltwood finish. Freshly upholstered in Scala...Category
Antique 19th Century Italian Baroque Armchairs
MaterialsWood
Recently Viewed
View AllMore Ways To Browse
Baroque Country
Italian Train
Carved Scroll Arm
Used Throne Chairs
Ebonized Pair Armchairs
Antique Furniture Emblems
Carved Wood Arm Chairs
Ornate Baroque
Carved Throne
19th Century Throne
18th Century Arm Chair
Pair Painted Arm Chairs
Antique Furniture Living Room Ideas
Wood Scroll Arm
Single Arm Chair
Italian Piano
Pair Of Two Arm Chairs
Antique Chair With Carved Flower