A&MYA SRLS Artistic & myArtistic
VIGONZA, IT
Details
- Dimensions
- 32.28ʺW × 2.76ʺD × 47.24ʺH
- Styles
- Hollywood Regency
- Period
- Early 18th Century
- Country of Origin
- Italy
- Item Type
- Vintage, Antique or Pre-owned
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- Materials
- Wood
- Condition
- Good Condition, Unknown, Some Imperfections
- Color
- Gold
- Condition Notes
- Very Good — This vintage item has no defects, but it may show slight traces of use. Very Good — This vintage item has no defects, but it may show slight traces of use. less
- Description
-
Mirror attributable to the school of andrea brustolon
this louis xiv period mirror features rich and diffuse elegantly carved motifs. … more Mirror attributable to the school of andrea brustolon
this louis xiv period mirror features rich and diffuse elegantly carved motifs. They are floral motifs, the acanthus leaves, the geometric motifs. Everything is more delicate and sinuous, bringing himself to the style of the regence period, which will follow his reign. This is a stunning period louis xiv giltwood mirror that will make a beautiful focal point of any room.
about andrea brustolon
he was trained in a vigorous local tradition of sculpture in his native belluno, in the venetian terraferma, and in the studio of the genoese sculptor filippo parodi, who was carrying out commissions at padua and at venice (1677). He spent the years 1678-80 at rome, where the high baroque sculpture of bernini and his contemporaries polished his style. Apart from that, the first phase of brustolon's working career was spent in venice, 1680–1685. Brustolon is documented at several venetian churches where he executed decorative carving in such profusion that he must have quickly assembled a large studio of assistants. As with his contemporary in london, grinling gibbons almost all the high quality robust baroque carving in venice has been attributed to brustolon at one time or another. In the venetian ghetto, at the scola levantina,. Brustolon provided the woodwork for the synagogue on the piano nobile, where the carved, canopied bimah is supported on solomonic columns, which brustolon had seen in bernini's baldacchino in the basilica of st peter's. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity
issues arising from misattribution less
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