DeCastelli Scuplt Cabinet by Francesco Forcellini

A sculptural presence and essential minimalism are the identifying characteristics of this table, made of just three elements: a thick rectangular top which rests on two large concav...

Inspired by the table of the same name, Convivium consolle leans against the wall with curvy and graceful attitude. Entirely made in brass, this piece stands out for the DeErosion fi...

Inspired by the table of the same name, Convivium consolle leans against the wall with curvy and graceful attitude. Entirely made in brass, this piece stands out for the DeErosion finishing of the top and the flowing movement of its curved legs. Additional Information: Materials: Brass Finish: DeLabré orbitale brass...

The Ripple cabinet is inspired by the fluidity and adaptability of water, and the texture of metal, expertly worked by the company. The result is a sinuous, polymorphous volume in wh...

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...

18th Century, Italian Neoclassical Demi-lune Wood Console attributed to Francesco Bolgiè This fine and refined neoclassical console was built in the neoclassical era in Turin, Italy,...

Less walnut cabinet by Mentemano Dimensions: W 120 x D 65 x H 88 cm Materials: oak The design comes from a subtraction process making a focus on the basic frame of Less. The w...

"Jonathan" table by Francesco Soro for ICF top - Pietra Serena.