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24 novembre 2012

An Italian engraved ivory inlaid rosewood, ebony and marquetry commode by Giuseppe Maria Galbiati, Turin early 18th century

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An Italian engraved ivory inlaid rosewood, ebony and marquetry commode by Giuseppe Maria Galbiati, depicting the ancient kings of Naples and the story of Romulus and Remus, Turin early 18th century - Photo Sotheby's

 of gentle bowed form, the top inlaid with intersecting scrolls and stylised ogee motifs above eight drawers each centered by a panel depicting the legend of Romulus and Remus flanked by sixteen portraits of the ancient kings of Naples within strapwork, the drawers and stiles with pilasters decorated with military trophies above two addorsed telamones, on the left side: the Maiestas Fortidunis represented by a feminine figure with an eagle on her head, armed with a sword and a sceptre, overcoming the Tirannis, a soldier in armour with a fractured sword, on the right side: the Religio Christi overlooked by the Holy Spirit are seen defeating Idolatry with the cross, on `rapa' shaped feet; 99cm high, 147cm wide, 75cm deep; 3ft. 2½in, 4ft 9¾in, 2ft. 5½in. Estimation: 100,000 - 150,000 GBP

Comparative Literature: R. Antonetto, Il mobile piemontese nel Settecento, Turin, 2010, Vol. I, pp. 38-55.
Rosa D'Amico, Catalogo Generale della Raccolta di Stampe Antiche della Pinacoteca Nazionale di Bologna Gabinetto delle Stampe, Bologna, 1980.

The following is an extract translated from the footnote written by Roberto Antonetto, February 2012, and the detailed note in Italian is available from the department upon request: 

The attribution of this commode, which is a very important piece both historically and artistically, is based upon the characteristics of the piece itself. It is attributed to a workshop based in Turin at the beginning of the 18th century, almost certainly the Galbiati workshop. Galbiati was a cabinetmaker originally from Lombardy, who brought the technique of ivory inlay, typical of his place of birth, to Turin. The character of Lombardy is indeed clearly visible in the commode. We can recognize this commode as a work by Galbiati by comparison with other works already attributed to him. Recently this author has listed the furniture pieces by Galbiati, and another very similar commode, which is signed by Galbiati, have confirmed this attribution.

By comparing the top of this commode, with the one signed “Galbiati fecit” (a wonderful “mazzarina” from a private collection), see Antoneto, op. cit., p. 42, no. 1, reproduced here in fig. 1, the two pieces share the same design of curves and volutes, but the signed “mazzarina” is adorned with ivory elements. The same volutes are present upon at least five other desks attributed to Galbiati in private collections.

Another singular characteristic of Galbiati is the tiny ivory ring or band linking the volutes carved with either foliage motifs, a small butterfly or a small carved rectangle. Furthermore, Galbiati usually includes in his commodes thin horizontal elements addorned with ivory rectangles and ellipses situated between the drawers. These elements are also present upon this commode.

This commode presents a unique feature: the front of the commode depicts the history of the kings of Naples between 1130 and the end of the 14th century. On each of the eight drawers there are two ivory medallions carved with the portraits of the kings, their names and the chronology of their reigns. Beside the medallions, there are war panoplies. The rectangular panels, with concave corners, between the medals, represent scenes from the history of ancient Rome in a very pure classical style and thus probably executed by a different artist. 

Usually the cabinet-makers from Turin, such as Piffetti, used ancient history as a source of iconographical inspiration, but it is unusual that the duration of the reigns depicted by Galbiati is different from the duration historically documented. Furthermore, this list of the kings is missing the last three monarchs. Probably, the commode was designed to belong to a pair.

There are many reasons for the choice of representing the kings of Naples upon a commode made in Turin: the origin of the client who commissioned the work or the possibility of a wedding gift.There is also a link between the symbolic images represented on the sides and the series of the kings: the strength of the sword and the majesty of the religion are regal instruments used throughout history.

The 16th century style ivory panels representing episodes from Roman history are based on the illustrated text “Storie di Romolo e Remo” by Giovanni Battista Fontana (Verona 1541-Innsbruck 1587): this is a collection of twenty seven etchings dating between 1573 and 1575. The panels illustrated by Fontana measure about 127x22 mm. 

The engraver of the panels transferred twelve etchings on ivory at 1:1 scale, sometimes just transposing the etching, sometimes breaking it down and creating a new combination, so typical of engravers. The panels on the top left drawer comes from the etchings n. 1 and n. 2 from Fontana’s collection. The panel represents Amulius sacrificing his defeated brother’s daughter to the goddess Vesta, whilst in the background we can see Romulus and Remus nursed by the Wolf-Goddess and the twins abandoned by the River Tiber. The background illustrations on the commode are rearranged compared to the originals in Fontana’s collection.

The panel on the second drawer on the left combines Fontana’s etchings n. 2 and n. 4, which represent Romulus and Remus hunting and the prisoner Remus brought before Amulius.The panel on the third drawer on the left of the commode represents the left side of Fontana's etching n. 5. It illustrates Romulus freeing Remus and killing Amulius. The right side of the panel represents only loosely the illustration of Fontana's etching n. 6, even though it is markedas number 6.The fourth drawer on the left is a composition of etchings n. 7 and n. 8 of Fontana's collection. N. 8 represents Romulus killing Remus. N.7 represents the two brothers consulting an oracle. The panel on the top right hand drawer manipulates two etchings from Fontana's collection: n. 11 and n.12. From etching n.11, which represents Romulus founding the Senate, the engraver does not illustrate the consensus of the senators but adds the standing figure of a man reading a book. From etching n.12, representing the Rape of the Sabine women, the engraver illustrates on the ivory panel only the central portion of Fontana's etching.The panel on the second right hand drawer represents etching n.13 of Fontana's collection: King Acrones attacks Romulus and is defeated. On the third right hand drawer is represented etching n.17 of Fontana's collection (illustrating the peace with the Sabines) but this panel does not represent n.16, as it is marked in the ivory. Furthermore, the right side of the panel that is marked by the number 17 does not correspond to etching n.17 of Fontana's collection.

In the panel of the last drawer on the right hand column are combined two etching's from Fontana's collection: n.19 and n.20 (and not n.18 and n.19 as indicated by the ivory engraver). The first print illustrates the Sabine king corrupting Tarpeia to conquer the stronghold represented in the background (the stronghold is barely visible on the commode). The second print represents the punishment of Tarpeia, trampled on by the soldiers to whom she opened the doors of the city.

The connection between these engravings with the portraits of the Neapolitan kings is clear: the aim is to enoble the first kings, founders of an important and proud kingdom, comparing them to the foundation of the most powerful empire of the ancient world, Rome "cui totus postea orbis terrarum parere coactus est" (to which the whole world was subject), as described by Fontana in his introduction to the collection of prints. Furthermore, the symbols on the commodes sides, representing the sword and religion, emphasize this connection.

Nevertheless, it is unlikely that the ivory engravings are part of the original design of the commode: their presence "fills" the front of the commode more than usual. Usually the richest decorations are concentrated predominantely on the front of the commode which naturally has the most immediate visual impact: there is a strong contrast between the splendid simplicity of the surface of the top, one of the most pure and beautiful examples known to us, and the spectacularly crowded drawers.

In addition to the conclusions based on the commode's style, there are additional technical considerations: the ivory panels vertical edge break a decorative element, probably a leaf-motif, that recalls the cusps on the panel's horizontal edges. If these elements were not cut, they would have no reason to exist. The edges of the ivory panels are either filled with strips of ivory, or display the original ivory decoration. These edges are unsophisticatedly cut and forcefully inserted. Therefore these ivory panels were added to the commode and probably stripped from a cabinet. This could have been requested by the client who intended to emphasize the historical significance of the commode at a slightly later date since its first execution. This very brief time lapse is demonstrated by the continuous patina. This addition doesn't diminish the importance of this piece, but adds to the historical appeal, which is one of the fundamental components of the value of a work of superlative cabinet-making.

It is worthwhile noting a Neapolitan cabinet inlaid with various ancient Neapolitan kings, similar to those upon the offered commode, sold in these Rooms, 28th October 2004, lot 315 (£108,000). 

Giuseppe Galbiati:
There is scant information on the life of Giuseppe Galbiati: he was originally from Lombardy-Veneto, as was his contemporary Luigi De Rossi who was also working in Turin. Galbiati became a master carpenter on the 28th of July 1703, passing the difficult exam of the corporation of cabinet-makers allowing him to open a carpentry workshop according to the strict rules established in the royal act called "Lettere Patenti". A census of 1705 records Galbiati as 26 years old, thus he was born between 1679 and 1680. His workshop was based in via Santa Teresa as well as that of his relative Prospero Galbiati, who also worked in the workshop together with a 14 year old apprentice; the three of them formed the Galbiati workshop which also worked for the royal family. In 1716, they executed a large commission for 800 Italian liras, a pair of buckeye-veneered “bureaux” desks for the Rivoli Castle. According to the 1734 census of the corporation 'The Arts of Turin", the workshop ceased to exist. It is unknown whether it was due to the owner’s death or to his relocation to another town.

 

Sotheby's. Arts of Europe. London | 04 déc. 2012 www.sothebys.com

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