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Image © National Museums Scotland
View full screenConsole table with marquetry top and carved boxwood base, with a central subject depicting an architectural perspective, celebrating the Venetian conquest of Morea: Italian, Venice, top by Lucio de Lucci, c. 1686 - 1688, base attributed to Andrea Brustolon
K.2012.26
de Lucci, Lucio, 1680 - 1700 (fl.), Marqueter
Venice, Italy, Southern Europe
Brustolon, Andrea, 1662 - 1732, Furniture maker
Venice, Italy, Southern Europe
c. 1688
Ebony, Brazilwood, Hardwood, Ivory, Horn, Pewter, Boxwood, Metal
The ebony ground of each top is divided into nine primary compartments by broad lines of strapwork in brazilwood (pernambuco), outlined in fine ivory stringing. The central pictorial panels have secondary scenes below and to the left and right, while an armorial cartouche fills the area above. Large areas of scrolling acanthus marquetry fill the space between the pictorial areas and the composition is finished in the corners with further small figure scenes. The marquetry, of European and exotic hardwoods, is supplemented with stained horn, ivory and pewter details. The acanthus areas are embellished with weapons, birds, animals, putti and dwarfs (the last derived from Jacques Callot’s Varie figure Gobbi, 1616). The central subject is an architectural perspective in the manner of Hans Vredeman de Vries. The lower scene depicts a mounted stag hunt while the remaining four scenes depict mounted warfare. Some of the figures are turbaned and fight with scimitars. The figure in the top right corner carries a scroll inscribed ‘LVCIO D’LVCCI FECE’. The figure in the top left corner smokes a long pipe. The boxwood base comprises four massive scrolling legs joined with scrolled x-form stretchers. The legs and stretchers are profusely carved with acanthus foliage, fruit and flowers while the deep friezes bear trophies of helmets, arms and trumpets. The bases have undergone restoration on a number of occasions with some sections of carving replaced and the structure re-enforced with hidden metal straps. This does not, however, detract from the visual impression or design integrity. The tops have also been restored more than once and on both tables the arms of the Duke of Buccleuch, on ivory, have been inserted in place of the arms of the original owner.
Original owner: Morosini, Francesco, Doge, 1619 - 1694
Previous owner: Walter Francis Montagu-Douglas-Scott, 5th Duke of Buccleuch and 7th Duke of Queensberry
Dealer: Baldock, Edward Holmes, 1777 - 1845
Vredeman de Vries, Hans, 1527 - c. 1607
Callot, Jaques, 1592 - 1635
Gobbi
Victoria and Albert Museum
Morean War
Art of Living (08 Jul 2016)
National Museum of Scotland
Enrico Colle, Il Mobile Barocco in Italia, Milan, 2000, ill. pp.302 and 322
A. González-Palacios, Il gusto dei principi, Arte di corte del XVIIe del XVIII secolo, Milan, 1993, pp.338-9, figs. 595 (erroneously switched with fig. 597) and 596; and figs. 597 and 598 for two related tables
Anna Maria Spiazzi, Andrea Brustolon 1662-1732, ‘Il Michelangelo del Legno’, Belluno, 2009; catalogue of an exhibition at the Palazzo Crepadona, Belluno, March-July 2009
Daniela di Castro, ‘Una tarsia veneziana del Seicento per un bureau tedesco del Settecento’, DecArt, Riviste di arti decorative 1 (2004), p.20-25
S. Tumidei, ‘Intagli a Bologna, intagli per Bologna’, Antologia delle Belle Arti, II, pp.59-62, 2000
national museum of scotland »
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art, design and fashion, art of living
Acquired with the aid of the Heritage Lottery Fund, the Art Fund, the National Museums Scotland Charitable Trust (the Lindsay Endowment), the Wolfson Foundation and the Edinburgh Decorative and Fine Arts Society