Lot 201. A pair of Venetian Rococo polychrome-painted and parcel-gilt benches, mid-18th century. Estimate 30,000 — 50,000 USD. Photo: Sotheby's.

height 31 in.; length 59 in., 79 cm; 150 cm

Provenance: Palazzo Donà dalle Rose, Venice;
Adolfo Loewi, Venice.

Lot 202. A pair of Venetian Rococo polychrome-painted and parcel-gilt benches, mid-18th century. Estimate 30,000 — 50,000 USD. Photo: Sotheby's.

height 31 in.; length 59 in., 79 cm; 150 cm

Provenance: Palazzo Donà dalle Rose, Venice;
Adolfo Loewi, Venice.

Lot 203. A pair of Venetian Rococo polychrome-painted and parcel-gilt benches, mid-18th century. Estimate 30,000 — 50,000 USD. Photo: Sotheby's.

height 31 1/2 in.; length 38 1/2 in., 80 cm; 98 cm

Provenance: Palazzo Donà dalle Rose, Venice;
Adolfo Loewi, Venice.

Note: Venetian rococo decorative arts is synonymous with polychrome-decorated, most often lacquered or lacca povera, furniture and objects. Besides the present benches, which are en suite with lots 202 and 203, the Rosen collection at Caramoor include a number of such emblematic  works produced in Venice in the mid-eighteenth century, including a group of small caskets and boxes (lot 194). Not having armrests, the six panche offered here are distinctively different from divans and settees and were most likely conceived as window seats. Having relatively low backs that were left undecorated to the reverse further suggests that these benches were destined to be placed in window niches without obstructing the view. Because of their matching decoration and matching heights, these benches were almost certainly intended to furnish the same interior, most likely the main hall on the piano nobile of Palazzo Donà dalle Rose. The Palazzo was begun by Doge Leonardo Donà (d. 1612) in 1600 and finished after his death. It is also conceivable that these benches were part of a larger matching suite comprising of settees, chairs, armchairs and stools. For a settee with related open back, seat rails and back splats with comparable shell and foliate carving and very similar floral decoration from the collection of count Francesco Castelbarco Albani, see Saul Levy, Lacche Veneziane Settecentesche, Milan, 1967, figs. 38-39. The color scheme of the lacquered settee illustrated by Levy is basically identical to the original coloration of the six panche offered here. The overall yellow color of the Caramoor benches is actually a discolored varnish, which is now peeling in areas revealing the original and mostly intact polychrome decoration. Interestingly, one of the benches is partially inscribed in English on the underside mentioning the piece being white and the date of 1959. It is possible, that the current and once clear varnish was applied by a conservator that year and it has since yellowed. With proper restoration this varnish could be removed to reveal these benches in their original glory.