AN ITALIAN BRASS-MOUNTED IVORY-INLAID EBONY, FRUITWOOD AND GREEN-STAINED MARQUETRY CENTRE TABLE
AN ITALIAN BRASS-MOUNTED IVORY-INLAID EBONY, FRUITWOOD AND GREEN-STAINED MARQUETRY CENTRE TABLE
AN ITALIAN BRASS-MOUNTED IVORY-INLAID EBONY, FRUITWOOD AND GREEN-STAINED MARQUETRY CENTRE TABLE
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Prospective purchasers are advised that several co… Read more THE PROPERTY OF A LADY
AN ITALIAN BRASS-MOUNTED IVORY-INLAID EBONY, FRUITWOOD AND GREEN-STAINED MARQUETRY CENTRE TABLE

ATTRIBUTED TO LUIGI AND ANGELO FALCINI, FLORENCE, MID-19TH CENTURY

Details
AN ITALIAN BRASS-MOUNTED IVORY-INLAID EBONY, FRUITWOOD AND GREEN-STAINED MARQUETRY CENTRE TABLE
ATTRIBUTED TO LUIGI AND ANGELO FALCINI, FLORENCE, MID-19TH CENTURY
The rectangular top centred by a poly-lobed reserve with floral scrolled border enclosing parrots perched on a floral bouquet, flanked to each side by a floral wreath inlaid with a bird and butterfly, surrounded by birds within ribbon-tied scrolling acanthus and floral branches terminating in serpents, the moulded edge inlaid with flower-filled foliate entrelac, the frieze conformingly inlaid with birds divided by floral volutes, and fitted with a long drawer, on circular columnar legs inlaid with stringing and Bacchic masks, joined by a waved 'X'-shaped stretcher with reserves enclosing floral sprays and insects, the central roundel inlaid with the Medici coat-of arms, on turned bun feet
33 in. (84 cm.) high; 48 in. (122 cm.) wide; 32 in. (81.5 cm.) deep
Provenance
Anonymous sale; Christie's, London, 6 March 2014, lot 35 (£64,900).
Literature
S. Chiarugi, Botteghe di Mobilieri in Toscana 1780-1900, Firenze, 1994, pp. 194-197
A. Gonzalez-Palacios, Il Tempio del Gusto, La Toscana e l'Italia Settentrionale, Vol. I, p. 179
C. Paolini, A. Ponte, O. Selvafolte, Il Bello Ritrovato, Novara, 1990, p. 226
Special Notice
Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country. This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

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Lot Essay

This important table by the Florentine brothers, Luigi and Angiolo Falcini (fl. 1836-69), is modelled on the celebrated Baroque table made for the Medici family in the third quarter of the 17th century, attributed to Lionardo van der Vinne (d. 1713), and by the 19th century in the collection of the Accademia delle Belle Arti, now in the Palazzo Pitti, Florence. It is one of four very similar tables attributed to the Falcini brothers, which are known to date; one in the National Gallery of Ottawa (no. 18187, purchased 1974), one in the Institute of Fine Arts in Detroit (no. 71.293, provenance, W. Apolloni, Rome), and one sold at auction (Sotheby’s London, 2 October 1998, lot 337, subsequently Sotheby’s New York, 16 November 2011, lot 77). Interestingly, the Medici family correspondingly commissioned four tables of this model in 1679 (F.J. Cummings, Bulletin of the Detroit Institute of Arts, Vol. 51, No. 1, 1972, pp. 12-13). In 1977, the similarity of the Detroit table to the Medici table in the Palazzo Pitti led to a suggestion that the former was by van der Vinne and 17th century (A. Gonzalez-Palacios, 'A Grand-Ducal Table’, Bulletin of the Detroit Institute of Arts, Vol. 55, No. 44, 1977, p. 169). This mistaken attribution demonstrates that the exceptional craftsmanship of the Falcini brothers can be taken for the work of a Renaissance master, and suggests their ability to recreate a series of tables of almost indistinguishable quality from the originals. When compared, the present table is not identical to the Medici table, but a magnificent interpretation by the Falcini brothers.

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