French Faux Painted Foliage Console. Circa 1790

English Regency mahogany marble-top console with flanking Phoenix heads, original ormolu mounts, ebonized tapered legs, centered gilt urn and terminating on rectangular molded edge b...

Italian Faux marbleized wall-mounted console with a gilded lambs tongue egg and dart border, gilded scrolled acanthus legs, exterior and interior floral medallions, and resting on sc...

Italian Neoclassical faux painted green marbleized console with decorative gilt foliage shell gadrooning, central gilt foliage medallion, exterior gilt scroll work, flanking interior...

French hand painted flip top dressing table with floral paintings , ebonized string inlay, foliage border with swags, connecting cross stretchers , and terminating on tampered splay...

Baroque console table. Wood, gilded. Frame with openwork cartridge. Two opposing C-rocailles with bracing. Cut red marble slab. France.

An exquisite and elegant Florentine 18th century Louis XVI period carved, painted and gilded wood neoclassical console table, with Carrara white marble top. The rectangular frieze is...

Modern hand-painted faux parchment console table with four drawers having soft closing mechanisms, on waterfall trestle ends. Dimensions: 70"...

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...