Y A SOUTH ITALIAN VERRE EGLOMISE, TORTOISHELL, ROSEWOOD, EBONISED AND EBONY CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDAN, POSSIBLY BY DOMENICO COSCIA Of breakfront outline, the panels painted with mythological scenes, the central architectural door opening to a mirrored recess ON A LATER GEORGE III EBONISED AND PARCEL GILT STAND LATE 18TH CENTURY the cabinet and stand overall 176cm high, 146cm wide, 50cm deep Provenance: Christie's, London, Fine European Furniture, Sculpture, Tapestries and Carpets, 10th November 2005, Lot 164 Catalogue Note: During the 17th and 18th Century many visitors on the Grand tour would have marvelled at the Italian interiors adorned with exquisite furniture. The cabinet on stand was a piece particularly admired and often commissioned to be brought back to England. One such grand tourist was Thomas Isham 3rd Bt (d.1681) who spent three years in Rome amassing a collection of wonderful objects which included a similar pair of cabinets. Other comparable examples can be found in the Victoria and Albert museum, The Palazzo Barberini and the Pitti Palace (see E. Colle, Il Mobile Barocco in Italia, Milan, no. 14). The painted panels depicting mythological subject matter resembles the work of Luca Giordano (1632-1705) although none of the designs have been attributed to him. Bernardo de Dominici an Italian historian and painter (1683-1759) wrote extensively in his Vite de' Pittori Scultori ed Archietti Napoletani on Giordano's painting on glass which resembles the imagery of this cabinet. However, he also mentions the pupils of Giordano who painted on glass, most notably Domenico Coscia Not much has been written about Coscia and he remains largely unknown. Nevertheless, the artist is mentioned in Linda Martino's introduction of the 'Vetri Dipinti' section in A.Gonzalez-Palacios, Civilta del Seicento a Napoli, 1984, p 4.22. This suggests he was the most prolific glass painter of cabinets at the time and probably was the painter of this piece. Alvar Gonzalez- Palacios also argues panels of this kind were initially painted in Florence and then assembled in Naples. This suggests the painter would have been a living in Florence at the time (A. Gonzalez-Palacios, Il Tempio del Gusto, vol). This theory is supported by Mina Gregori and Frederico Zeri who have attributed similar panels in a Naples private collection to the Florentine artist Pietro Dandini (1646-1712) [ibid.,p.283].
Y A SOUTH ITALIAN VERRE EGLOMISE, TORTOISHELL, ROSEWOOD, EBONISED AND EBONY CABINET NAPLES, LATE 17TH CENTURY, CIRCLE OF LUCA GIORDAN, POSSIBLY BY DOMENICO COSCIA Of breakfront outline, the panels painted with mythological scenes, the central architectural door opening to a mirrored recess ON A LATER GEORGE III EBONISED AND PARCEL GILT STAND LATE 18TH CENTURY the cabinet and stand overall 176cm high, 146cm wide, 50cm deep Provenance: Christie's, London, Fine European Furniture, Sculpture, Tapestries and Carpets, 10th November 2005, Lot 164 Catalogue Note: During the 17th and 18th Century many visitors on the Grand tour would have marvelled at the Italian interiors adorned with exquisite furniture. The cabinet on stand was a piece particularly admired and often commissioned to be brought back to England. One such grand tourist was Thomas Isham 3rd Bt (d.1681) who spent three years in Rome amassing a collection of wonderful objects which included a similar pair of cabinets. Other comparable examples can be found in the Victoria and Albert museum, The Palazzo Barberini and the Pitti Palace (see E. Colle, Il Mobile Barocco in Italia, Milan, no. 14). The painted panels depicting mythological subject matter resembles the work of Luca Giordano (1632-1705) although none of the designs have been attributed to him. Bernardo de Dominici an Italian historian and painter (1683-1759) wrote extensively in his Vite de' Pittori Scultori ed Archietti Napoletani on Giordano's painting on glass which resembles the imagery of this cabinet. However, he also mentions the pupils of Giordano who painted on glass, most notably Domenico Coscia Not much has been written about Coscia and he remains largely unknown. Nevertheless, the artist is mentioned in Linda Martino's introduction of the 'Vetri Dipinti' section in A.Gonzalez-Palacios, Civilta del Seicento a Napoli, 1984, p 4.22. This suggests he was the most prolific glass painter of cabinets at the time and probably was the painter of this piece. Alvar Gonzalez- Palacios also argues panels of this kind were initially painted in Florence and then assembled in Naples. This suggests the painter would have been a living in Florence at the time (A. Gonzalez-Palacios, Il Tempio del Gusto, vol). This theory is supported by Mina Gregori and Frederico Zeri who have attributed similar panels in a Naples private collection to the Florentine artist Pietro Dandini (1646-1712) [ibid.,p.283].
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
