An Italian pale blue lacquered, parcel-gilt and pastiglia chinoiserie commode, Piedmontese, Turin circa 1760

with a serpentine painted top imitating bardiglio marble above two long drawers with two rocaille and pastiglia reserves with chinoiserie figures in a landscape and interior scenes above an apron decorated with tasselled lambrequins with similarly decorated splayed sides on cabriole legs terminating in hoof feet

A rare piece in overall good conserved condition. Colours slightly darker overall and more vibrant than in the catalogue photograph. There are some hairline construction cracks running across the top and scratches and there is a medium size chip to the painted decoration to the rear left corner which would benefit from some attention. There are hairline construction cracks at the joints generally which are commensurate with age and are hardly noticeable and do not detract from the piece. The detail to the chinoiserie decoration is charming and the pastiglia decoration is a rare feature. There has been some very minor retouching to the decoration. There are traces of some black engraving on the pastiglia cartouches.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Comparative Literature:
Umberto Chierici, Torino, il Palazzo Reale, Turin, 1969, plates 22 and 23.
Hans Huth, Lacquer of the West, Chicago, 1971. 

This rare and beautifully lacquered commode, with detailed chinoiserie figures in imitation of Chinese famille rose porcelain is in the most delicate shade of pale blue and has the added rare feature of pastiglia parcel-gilt foliate and scoll reserves. Rather than the more usual method of arte povera (a technique borrowed from Venice) of cutting out engravings, colouring them then applying them to resemble true lacquer, the Piedmontese laccatori has actually skilfully painted  the design. The commode is of small and elegant proportions with the top painted to simulate grey bardiglio marble the latter often found on Piedmontese furniture. Furthermore, the inside of the legs are painted red. The decoration was probably conceived for a room setting decorated with chinoiseries which were extermely popular in 18th century Piedmont.

The city of Turin, was second only in importance to Venice for the production of lacquer in the mid 18th century. In an attempt to imitate Versailles, King Vittorio Amadeo II (1666-1732) commissioned Filippo Juvarra (1678-1736) to remodel Palazzo Madama, in Turin. The most striking lacquer room of the first half of the 18^th century was however, in the Royal Palace of Turin based upon designs by Juvarra. Far Eastern panels on the walls were added to by the local lacquermaster, Pietro Massa. The panels were lacquered in red and gold on a black ground to achieve a stunning effect.

The taste for rooms decorated in chinoiseries in Turin can be seen illustrated by Huth, op. cit., plate 132, for the lacquer room at Villa Vaccetti, near Turin, circa 1740. Furthermore, Chierici, op. cit., illustrates an overdoor and the Gabinetto Cinese in plates 22 & 23, demonstrating the taste for chinoiseries in Turin in the mid 18th century.