Six Mid-18th Century Italian Chairs, Venice, circa 1750

Group of seven chairs Milan, first quarter of the 19th century Carved walnut wood, lacquered in gray green and cream and partially gilded They measure: height 36.61 in (18.11 in ...

Maiolica centerpiece Pasquale Antonibon factory Nove di Bassano, Venice, 1740-1770. Measures: 1.85 in x 19.21 in x 15.27 in 4.7 cm X 48.8 cm X 38.8 cm. lb 5.29 (kg 2.4) State of conservation: thin passing fêlure with covered chipping and a glued foot The Antonibon were an important family of Venetian...

Four carved walnut chairs with leather covers Milan, circa 1750 They measure: 39.37” high, 18.30” to the seat, 21.65” deep x 19.29” (100 cm high, 46.5 cm to the seat, 55 cm deep x 49 cm) State of conservation: - the leather covers are not original; - some signs of use, especially on leather covers; - the rocailles at the height of the backrests have lost part of the carved elements. The four walnut chairs have a mixtilinear structure adorned with rocaille relief carvings; the legs are shaped and end with a curl. The backs and seats are padded and covered with impressed leather with figures and cartouche decorations from later production. Around the mid-eighteenth century in Milan it was very popular to cover seats with impressed leather. Mutton or cowhide was used which, suitably tanned, was then worked with heated irons (hot decoration) or with carved wooden molds (cold decoration). These were impressed on the leather until obtaining a darker brown color. Our group of chairs...

Pair of armchairs Original impressed leather covers Milan, circa 1750 They measure: 40.94" high [18.11" to the seat] x 21.65" in deep x 27.55". 104 cm high (46 to the seat) x 55 ...

Carved, sculpted walnut mirror Venice, about mid-18th century It measures 53.93 x 33.46 in (137 x 85 cm); weight 30.86 lb (14 kg) State of conservation: slight gluing The walnut mirror has an elongated rectangular shape, crowned with a decorative three-lobed sculpted and carved molding. The frame encircles the mirror with a series of rabbet grooves. A rocaille carved molding is attached above, showing off its curved decorative elements. These descend along the sides of the mirror frame and are further enhanced with the presence of volutes "pennaccette", small leafy elements and minute buds. The mercury mirror is original. As a decorative element, mirrors represent a refined expression of the Rococo style in Venice around the middle of the XVIII century. During this period, decorated mirrors, previously use...

La Jeunesse (Youth) Tapestry Polychrome wool and silk France, Aubusson, circa 1750 It measures 107.08 in height x 104.33 in (272 cm height x 265 cm). State of conservation: good The tapestry is accompanied by the engraving from which the subject was taken. The engraving measures 23.50 in x 25.86 in (59.7 cm x 65.7 cm) with the frame. The Aubusson tapestry has controversial origins: some believe that it was the Saracens who imported this type of work into Europe while other authors believe that the production began at the same time as the marriage between Louis I of Bourbon and Maria de Hainaut in 1310. It was at this time that a considerable importation of tapestries from Flanders into France began, followed shortly thereafter by the importation of their production techniques. At the beginning of the seventeenth century a royal edict from Henry IV halted the importation of Flemish tapestries, contributing to the subsequent Expansion of Aubusson production. The status of royal manufacture was to be granted only in 1665, even though the Nantes edict caused a drop in production because of the forced migration of weavers to Germany. The full recovery and the success of the manufacturing took place during the eighteenth century when the great painters and the tapestry manufacturers began to collaborate. Great French artists of the time and specialist painters, the “cartonniers”, painted “cartons de tapisserie” in oil or tempera, all of which were to be a source for the tapestries. As an alternative to the “cartons”, scenes taken from prints and engravings were freely used. The tapestry in question, made of wool and silk, is in good condition; the colors are still fresh and the silks, which give brightness to the scene, are well preserved. There are a small number of integrative restorations present, while the lining and the suspension system have been recently refurbished. The work is made with a flat-weave, according to the custom of the Aubusson manufactures, which is clearly demonstrated by this work since it shows all the technical and material characteristics typical of the first half of the eighteenth-century production: the “Jeunesse” was probably woven in the middle of the XVIII century. The scene itself is compelling: a rural clearing is depicted, centered around a tall tree with dense fronds with lance-shaped leaves. In the shade of this tree some scenes of courtship can be seen. A couple hugs each other, one is caught stealing a kiss and another, lying softly on the grass, is still at the early stages of courtship: together with the suitor the girl looks with smiling malice at the kissing couple. On the right, two young men practice archery while aiming at a target placed on top of a pole. The scene, with male and female characters intent on games and gallantry in a festive atmosphere, is taken - faithfully, but in mirror-image - from an engraving, which in turn was itself taken from the painting (now kept at the National Gallery in London, inv. NG103 and part of a series with the four ages of man) by Nicolas Lancret, produced around 1735. The tapestry is accompanied by a copy of the engraving, which bears, at the bottom, the name of the author (“N. Lancret pinxit”), the name of the engraver (“N. De Larmessin sculpsit”) and four short verses on the subject of love disputes: Pourquoi tous ces combats si chers a la jeunesse, Quels frivoles talents veut-elle mettre au jour? Non: chacun voudroit vaincre aux yeux de sa Maitresse, La Lice est une Scène ou triomphe l’Amour. Why all these fights so dear to youth, What frivolous talents does it want to bring to light? No: everyone would want to win in the eyes of his Mistress, The Lice is a Scene where Love triumphs. At the bottom we read: “A’ Paris chez N. De Larmessin graveur du Roy Rue de Noyer à la 4 (?) porte cochère a droite entrant par la Rue St. Jacques A.P.D.R. [Avec Privilège Du Roy]”. Nicolas Lancret (1690-1743), along with Antoine Watteau, was a pupil of Pierre Durin and Claude Gillot...

This is a very beautiful set of six elegant dining chairs hand carved in solid oak. Their shapes are gorgeous and the proportion makes them an important presence in a dining room. D...

Very nice pair of Rococo chairs, newly upholstered in leather with a vintage look. Could be bought together with another pair of Rococo chairs in same color wood and leather, just a ...

Very beautiful suite of six master chairs perfectly carved with all the details of Louis XIV decoration. On the dossiers there are angels in niches centered and framed with valances ...

This is a very beautiful pair of elegant dining chairs hand carved in solid oak. Their shapes are gorgeous and the proportions makes them an important presence in a dining room. Dee...

Very nice pair of Rococo chairs, newly upholstered in leather with a vintage look. Could be bought together with another pair of Rococo chairs in same color wood and leather, just a ...

This set of six sculptural frame dining chairs features exquisite Mid-Century hardwood frames, wonderfully tapered and comfortable designed. Unique pointed legs and armrests add to the charm of these vintage Italian dining chairs...