Italian Renaissance, Carved Hall Bench, Cassone, Walnut, Italy, 19th Century

Italian Renaissance Arm / Office Chair, Carved, Leather Seat, 19th Century A finely carved example having a worn, in good condition, leather seating a...

A set of eight finely carved and gilt dining chairs, all finely distress paint decorative with original horsehair seats. Each alternating chair measures 18 in W, 43 in H, 15 in D. wi...

Renaissance Carved Dining, Center Table, Dolphin Claw Foot Base, 19th Century A finely carved Renaissance Revival Heavily carved dining, center or library table. The scalloped edge table...

Pierre Jeanneret, French Mid-Century Modern, Dirty Linen Basket, Cane, Teak, Chandigarh, India c. 1960s This item is directly from Chandigarh, India and has markings indicating prov...

Pierre Jeanneret, French Mid-Century Modern, Dirty Linen Basket, Cane, Teak, Chandigarh, India c. 1960s Rare 'Dirty Linen' box designed by Pierre Jeanneret for Chandigarh, India. Th...

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...

This piece it´s part of a bargueño without legs, this carved walnut pieces you can use like a cassone, trunk or coffee table, 19th century.  

With flat hinged top opening to a open compartment. The curved case carved with a crest and figures and various designs. Bracket feet with trefoil form apron. Sold in a Sothebys Euro...

Large Antique Italian Renaissance style walnut cassone/ storage coffer, 18th c. This chest features a rectangular coffered top, with running ornamentation border, opening to storage ...

Charming painted cassone with a lift top, the rounded front decorated with pastoral scenes, nicely worn and muted under the varnish, darkened by age.

An Italian 19th century Baroque Revival style carved walnut figural Cassone chest-trunk. The ornately carved chest, also known as a marriage chest, with ...

Italian Renaissance wedding cassone Origin : Northern Italy, Between Milan And Bologne Period : 15th Century Height : 55 cm Width : 156.5 cm D...