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Lombard painter of the late 18th/early 19th century -Manner of the Raineri

Lombard painter of the late 18th/early 19th century -Manner of the Raineri

Lombard painter of the late 18th/early 19th century -Manner of the Raineri

Lombard painter of the late 18th/early 19th century -Manner of the Raineri

Lombard painter of the late 18th/early 19th century- Raniera dei Raineri

Lombard painter of the late 18th/early 19th century- Raniera dei Raineri

Lombard painter of the late 18th/early 19th century -Manner of the Raineri

Lombard painter of the late 18th/early 19th century -Manner of the Raineri

Tapestry on silk by Fabbriziani & Calandra

Tapestry on silk by Fabbriziani & Calandra

19th Century Italian Raised Gilt Gesso and Oil Painted Panel

19th Century Italian Raised Gilt Gesso and Oil Painted Panel

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Six panels in tempera on paper, early 18th century

$61,661.30per set

£45,960.36per set

€52,000per set

CA$84,616.94per set

A$94,748.38per set

CHF 49,434.97per set

MX$1,154,439.46per set

NOK 627,294.56per set

SEK 596,390.11per set

DKK 395,908.69per set

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About the Item

Boiserie made of six painted paper panels placed on canvas. The paneling was custom composed for the modern apartment in the last property, incorporating the six antique panels. The panels on a green background are decorated with rosy volutes in the Louis XIV style with lambrequins, featuring interlacing of gold and silver ribbons in the Berrain style; the ribbons are made in relief with a stucco decoration that allows for a bulinatura and light carving of foliage and curls; the base reserve, created to rest on a high plinth of a palace hall, is surmounted by the family coat of arms held by two rampant lions; within the coat of arms a rampant lion with a bifid tail holds a scimitar in its right paw. The highest reserves contain paintings of polychrome game birds resting on an ornate shelf. The rich reception rooms of grand palaces in ancient times were painted with frescoes, but with the beginning of the 17th century, wall coverings began to spread as well. Upholstery had not only an aesthetic purpose but also a functional one; it served to maintain a more constant temperature in poorly heated rooms, the earliest obvious examples being the use of tapestries or paneling of cloth, cloth, and velvet. All-wood paneling was also made, such as the Stube of the Alps, or paneling in which painted leathers were inserted, and especially from the late 17th century onward, also paneling designed to hold panels, painted paper as in this case or mirrors. Papers like frescoes allowed for themed rooms, which were more pliable and lower cost than fresco and stucco. In this case we have a decoration probably devoted to hunting, like the room devoted to the same subject in Stupinigi Castle. Etruscan or Chinese-style halls are also widespread. Papers painted directly from the East were even imported for these rooms and then inserted into the wall coverings. An example in this regard is still present at Stupinigi, but also at Racconigi we can see a string of chinoiserie rooms covered with very high quality papers and thematically decorated Needless to say, since this is decorative material and apt to be replaced, it has been well preserved only where it has remained placed where it was, while it is mostly a few series of panels, sometimes poorly preserved, those that have reached the antiquities market. The tempera panels described here are close to a French decorative taste and therefore find more comparisons with Piedmontese production. In fact, the decoration in the weave made by the gold and silver ribbons recalls the compositions of Jean Bérain, whose engravings spread from the late 17th century onward, influencing the decorations of fabrics, wall stuccoes, carvings, inlays, etc. throughout the Louis XIV period, we must say at least until about 1740. The panels described and that French influence should be attributed to those years. However, the fact that the famous actress Valentina Cortese adapted them to her own bedroom in a twentieth-century apartment with ten-foot ceilings should not mislead us. The panels were undoubtedly executed for a much taller large hall, in fact the panels were embedded in a more complex paneling that must have included wainscoting and probably upper paneling, fitting into a wall at least 5-6 meters high. The fact that they rested on a plinth one meter high is evidenced by the presence of the coats of arms, which had to be not at knee height but at least at the eye level of the observer, the lineage being a detail to be highlighted. The upper closure then seems to leave room for a reserve move that could accommodate a second box. Interesting is the state of preservation, except for the blue covered with a green ground tempera the rest is perfectly preserved to the point that it can be assumed that the color change was an aesthetic choice not a restoration. It must be said. To reinforce the observations made, that in Racconigi one can also see an example (in this case in fresco) of painting with similar birds in the West Gallery, painted by painters Cimati and Trifoglio.

Dimensions:
Height: 125.6 in (319 cm)Width: 49.22 in (125 cm)Depth: 0.4 in (1 cm)
Sold As:
Set of 6
Style:
Other (Of the Period)
Materials and Techniques:
Canvas,Paper
Place of Origin:
Italy
Period:
1740-1749
Date of Manufacture:
1700s
Condition:
Wear consistent with age and use.
Seller Location:
Milano, IT
Reference Number:
1stDibs: LU1721239305862

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