18th Century, Italian Neoclassical Demi-lune Wood Console by Francesco Bolgiè

18th century Italian neoclassical carved, lacquered and gilded wood dresser attributed to Francesco Bolgiè (1752?-1834). The fine and elegant commode is made of finely carved, lacquered and gilded wood. It presents several stylistic and material elements characteristic of the wooden works and of the furniture present in the Piedmont area, between the end of the 18th century and the beginning of the 19th century. The richness of the ornaments, the gold leaf, the iconographic program and the significant level of cabinet making that characterizes this furniture are testimony of a wealthy client and the valuable work of a sculptor at the service of noble and royal families. Stylistically can be attributed to the famous italian sculptor Francesco Bolgiè (1752-1834). The front of the furniture and the two side are characterized by a complex decorative architecture. Two horizontal perimeter bands show gilded carved geometric patterns and palmettes on a blue lacquered backdrop. The low frame, in the centre and on the front, has a half-moon element inside which is finely carved a lion with two cupids and laurel branches. Near the corners, at the top, are carved a female faces, while at the bottom are some bees. The fretwork of the vertical bands draws strings that support a bunch of grapes with vine leaves. The side walls are lacquered in ochre yellow and, at the centre, a frame with acanthus leaves outlines a lacquered space in the tones of the ancient rose violaceous, with in the centre an ornate leaf with fine girali. On the four sides of this frame four large golden flowers harmonize the together. The front, similar in composition, has a yellow ochre background, internal frame with palmettes and four flowers. The large internal space, lacquered in antique pink, shows in the center a woman’s fece with a composition of grapes and wheat ears; from the face depart fine phytomorphic girals with racemes, bunches of grapes and vine leaves. The nozzle of the original lock, placed on the front of the cabinet and on top, is in gilded bronze, chiselled with ribbon motif. The front panel opens downwards. The interior of the cabinet, entirely lacquered in red, has a shelf and therefore two compartments. The red color cinnabar deliberately recalls the characteristic Chinese lacquer, at the time much loved for the decorations to cineseria furniture. The special folding lock system, which allows the opening and closing of the front door, is the original one. The commode rests on four conical wood legs witch are carved with acanthus leaves and small ramage, gilded and lacquered. The top of the furniture is in grey marble bardiglio valdieri, lithotype that had great success in Piedmont, in the north of Italy, since the middle of the 18th century. On it were usually exposed bronzes, candlesticks, watches and sculptures. The sculpted subjects refer to a precise iconographic programme. The female head is identifiable in Ceres, Mother Terra, which in classical iconography is depicted with the head surrounded by a sert of wheat ears and a cluster of grapes. Ceres or Demeter in Greek, sister of Zeus, in Greek mythology is the goddess of fertility, the guardian of crops, protector of agriculture and wheat, constant nurse of youth and of the green earth, author of the cycle of seasons, life and death, protector of marriage and sacred laws. The representation of Ceres, and its meaning, are linked to bees, symbol of virtue and chastity, allegory of Mother Earth, rebirth, mercy and justice. Just as the leaves of the vine and its fruits: in many cultures, from Greco-Roman to Christianity, the vine is a symbol of well-being, fruitfulness and blessing; it represents an abundant life and the joy that flows from it; it reflects the desire for fertility and beauty. It is also a sign of devotion to the fruits of the spirit and protection from evil. Fullness, wisdom, youth, maturation, prosperity are all images associated with the vine. Sacrifice, faith and good will are the qualities required for the vine to bear fruit. The inverted bezel shows the iconographic image of Amor Vincit...

Italian neoclassical half-moon lacquered and giltwood console table with white marble top Italy, Naples, 18th century This elegant console table, in finely carved, lacquered and ...

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...

This is a superb pair of antique George III solid fruitwood demi-lune console tables, possibly Anglo Chinese, circa 1780 in date. Each console has a beautiful half moon shaped top...