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拍品專文
The sculptural design, scale and bold carving of this table closely relate to the designs of the Roman ornamentalist Filippo Passarini (1638-1698), in particular a drawing for a console featuring enslaved figures included in his 1698 pattern book, Nuove inventioni d’ornamenti d’architettura e d’intagli diversi: utili ad argentieri, intagliatori, ricamatori et altri professori delle buone arti del disegno (illustrated).
Passarini’s publication consisted of thirty-two designs for various objects, including consoles and mirrors as well as reliquaries and coaches, and served as a model book for craftsmen and goldsmiths. Many of the plates represent coaches, reflecting Passarini’s main activity as a coach designer, and there is a comparison to be drawn between the enslaved figure and military symbols of this table with the figural and martial emblem mounts found on the backs of some contemporary coaches.
This boldly-carved table also appears to be influenced by Johann Paul Schor, the leading artist of designed interiors in the late 17th Century. At this time the taste for unity within Baroque Roman palaces prevailed, where the works of art, architectural decoration and furniture worked together to create a unified interior. Schor inspired many craftsmen to create a new design aesthetic and this included Passarini, who imitated his grandeur. Schor’s influence can be seen on a carved and gilded console in the Galleria Colonna, Rome. The Galleria Colonna’s console, although more elaborately carved, is supported by two comparable submissive figures, each with the same large outscrolled moustache and similarly chained in place, representing the defeated Turks at the Battle of Lepanto. While the maker of the latter is still unknown, the design has also been related to Passarini’s illustrated design (A. González-Palacios, ll Tempio del Gusto, Roma e il Regno delle Duo Sicilie, Milan, 1984, vol. II, pp. 69 & 70, figs. 125 & 126 and E. Colle, Il Mobile Barocco in Italia, Milan, 2000, pp. 114-117, cat. 25).
Passarini’s publication consisted of thirty-two designs for various objects, including consoles and mirrors as well as reliquaries and coaches, and served as a model book for craftsmen and goldsmiths. Many of the plates represent coaches, reflecting Passarini’s main activity as a coach designer, and there is a comparison to be drawn between the enslaved figure and military symbols of this table with the figural and martial emblem mounts found on the backs of some contemporary coaches.
This boldly-carved table also appears to be influenced by Johann Paul Schor, the leading artist of designed interiors in the late 17th Century. At this time the taste for unity within Baroque Roman palaces prevailed, where the works of art, architectural decoration and furniture worked together to create a unified interior. Schor inspired many craftsmen to create a new design aesthetic and this included Passarini, who imitated his grandeur. Schor’s influence can be seen on a carved and gilded console in the Galleria Colonna, Rome. The Galleria Colonna’s console, although more elaborately carved, is supported by two comparable submissive figures, each with the same large outscrolled moustache and similarly chained in place, representing the defeated Turks at the Battle of Lepanto. While the maker of the latter is still unknown, the design has also been related to Passarini’s illustrated design (A. González-Palacios, ll Tempio del Gusto, Roma e il Regno delle Duo Sicilie, Milan, 1984, vol. II, pp. 69 & 70, figs. 125 & 126 and E. Colle, Il Mobile Barocco in Italia, Milan, 2000, pp. 114-117, cat. 25).