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  • ARMCHAIR VENICE; late 17th century This handsome late-Baroque chair is interesting because it recently still retained its original velvet cover although this was in so ragged a state that the chair could no longer be shown in that condition. The original cover has therefore been removed and preserved and the chair has been re-upholstered. The surviving fragments, together with an old photograph taken during the last century (when some of the trimmings were still in their correct position), have enabled us to re-construct the original appearance of the chair although the quality of fringe cannot be properly matched today. Nor should there be a seam round the edges of the frame of the back. An interesting feature is the cord which masks the two vertical seams of the back. These seams were originally necessary because the silk materials of the time were normally woven to a width of about 21 inches. Materials has therefore to be joined in order to cover the whole width of the back of chairs. The seam was usually made as unobtrusive as possible. The manner in which the cords masking the seams break up the surface of this chair-back may seem strange to our eyes, but the fragments show that this was how the chair was originally finished. Museum No. 4256-1856. [NB Note above that our opinion about the upholstery of the chair has changed]. [ca. 1974] Armchair About 1685–1700 Italy (Venice) Walnut, carved Upholstery (replacement): horsehair under upholstery with silk velvet top cover and fringe Museum no. 4256-1856 A chair of this magnificence was made for show as much as for use. It would have formed part of a large suite of chairs, arranged in a stately manner around the walls of a richly decorated room. The vigorous Baroque carving echoes the style of Andrea Brustolon (1662–1732), a sculptor and wood carver who made furniture for many of the great palaces in Venice. But it does not include the human figures for which he was celebrated. [01/12/2012] (en)
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crmsci:O8_observed
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