Di Mano In Mano Coop Console Tables

Consolle con piano in vetro trasparente, legno impiallacciato legno esotico, vetro specchiato.

Consolle in legno intagliato e dorato. Fascia sotto piano tripartita, con intagli floreali e mascheroni, sorretta da quattro gambe mosse riccamente intagliate a soggetti fogliacei e ...

Consolle neoclassica in noce. Intarsi e filettature in acero, pastiglia scura nelle gambe tronco piramidali. Piano in marmo verde alpi sostituito. Italia, terzo quarto XVIII Secolo.

Baroque carved and gilt wood console table with Giallo di Siena marble top, mid-18th-century Florence. Supported by four wavy legs joined together by central crossbeam, the console t...

Console table with double drawer, veneered wood, chrome-plated metal and aluminum.

Venetian Baroque console table supported by wavy legs; the apron on the front and sides is carved with characteristic rocaille motifs. Made of walnut, the shaped top is alabaster wit...

Carved and gilded wooden console table. It rests on four opposing double-curved supports ending in full-bodied curling volutes held by masks; carved female caryatids rest on the uppe...

Console in French neoclassical style with top in breccia, carved in all its parts and partially highlighted in gold; lion feet. The two front legs have lion heads carved at the point...

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...