A set of four Italian painted and parcel-gilt armchairs, Turin, circa 1750

Probably commissioned for Palazzo Madama, Turin.

This exquisite Piedmontese set likely originated from a larger suite of seating furniture commissioned for Palazzo Madama in Turin, a residence emblematic of the Savoy family's power and wealth, renowned for its elegance and sophisticated architectural style. The design features a vibrant, symmetrical outline, decorated with scallop-shell motifs on the apron, acanthus leaves, foliate clasps, and scrolls along the gracefully curved back and seat rails. These mouldings are skillfully carved in relief, enhancing their brilliance and showcasing the Piedmontese rocaille style.

Whilst some of the armchairs are still in Palazzo Madama (pictured in C. Steiner, Mobili e Ambienti Italiani dal gotico al floreale, Milan, 1963, pl. 440 and in more detail in A. Pedrini, Il mobilio, gli ambienti e le decorazioni nei secoli XVII e XVIII in Piemonte, Turin, 1953, p.125, pl. 244), others have resurfaced on the market and others are in public collections:

-An important set of six armchairs sold at Sotheby’s, London, Estate of the late Giuseppe Rossi, Vol.1, 10 March 1999, lot 25, sold £62,000 (illustrated in R. Antonetto, Minusieri ed ebanisti del Piemonte, Turin, 1985, plate 298, p.21 and G. Wannenes, Mobili d’Italia, Milan, 1984, pl. XIX)

-an armchair and a chair ensuite in the Museum of Decorative Arts in Milan (illustrated in E. Colle, Museo d’Arti Applicate, Mobili ed Intagli Lignei, Milano, 1996, pp. 266-267, cat. 416 and cat. 417)

Palazzo Madama, Turin

In the heart of Turin, stands the Palazzo Madama, a monument that transcends time and style. The history of the Palais Madame is marked by centuries of architectural transformations and historical events, making it one of the city's most emblematic buildings today. The history of this unique building spans two thousand years: originally conceived in the 1st century BC as a Roman city gate, its structure was gradually transformed into a fortress in the Middle Ages. In the 18th century it became a masterpiece of European Baroque, and in the 19th century an astronomical observatory.

The palace owes its name to the Madame Royales, powerful women, regent of the Duchy of Savoy, whom in the absence of their husbands or sons, chose the Palace as their residence in the 17th and 18th centuries and commissioned renovations. Christine de France (1606-1663), the first Madame Royale, took up residence here in 1638, during her regency on behalf of her minor son Charles-Emmanuel II of Savoy (1634-1675). To adapt the building to court life, Christine commissioned the architect Amedeo di Castellamonte to cover the old medieval courtyard to create a ceremonial room and a large hall for parties and receptions on the piano nobile. The second Madame Royale, Marie Jeanne Baptiste of Savoy-Nemours (1644-1724), also lived in the palace after the death of her husband, Duke Charles-Emmanuel II. At the behest of the regent, the rooms were richly decorated with precious gilded stucco by Pietro Somasso and spectacular frescoes celebrating the virtues by Domenico Guidobono. The most surprising transformation was entrusted to the architect Filippo Juvarra who, between 1718 and 1721, designed the façade and the extraordinary two-ramp staircase at the entrance.

The death of Marie Jeanne of Savoy, war with France and the siege of the city left the Palace in decay for some time, but the Palace was still the residence of the House of Savoy, with Vittorio Amedeo II (1666-1732) and Carlo Emanuele III (1701-1773) up until 1799 when Carlo Emanuele IV (1751-1819) is exiled. Later the palace had various uses, until 1934 when it began to house the collections of the Museo Civico d’Arte Antica.