retro contemporary furniture
LATE-COMER FURNITURE While in the cities and the middle-class societies fashion had already changed, for the furniture made in province the so-called "Late Comer Furniture" cannot be defined non-authentic, even if their commercial value is lower than the ones that bring the style on. In Florence, in Tuscany, in Umbria they used to built in '600 furniture similiar to those of the renaissance (1500). The craftsmen of Alto
Veneto pursued the Luigi XV style, when in Venice it was already outdated. The neoclassic style, apparently simple, has been repeated until the early '900. An antique buyer must be able to distinguish between a 1790's Maggiolini (1) and 1850's one; once it has been established the temporal distance and the qualitative, it shouldn't surprise us the
difference in prices. Unfortunately who doesn't know anything about art should ask a very skilled art expert. In some cases when we talk about pieces of art, and so of great value we also need scientific help, and in this case is "Spettrografia Molecolare" What is Spettrografia Molecolare? It is a method, used by many art experts, art collectors at an international level to guarantee themselves with a mathematical certainty for their art investments. This metod is based on: each molecule is composted of atoms that vibrate on a frequency if these are hit by radiations. Inserting a very tiny quantity of wood
of a tree just cut Furniture index
in a "Spettrometro", which registers the atoms vibrations of the single compounds, on the computer appears a curve that adds the chimical moleculars vibrations. As time passes, an external thin coat of the furniture dissolves rapidily, as the years go by, while the internal mass of the wood
breaks because of the microbes and the slow and gradual chimical processes, less influenced by the environment. The decomposition of the moleculars during the passed centuries alters the original curve that become so the typical print for a wood of a certain age. The absolute date is obtained comparing the investigated print with the prints of many samples for
wood of a certain age. the precision of the method depends by the type of the wood, for the woods commonly more used in antique this precision today is of +/-l0 years; the possibility of a wrong date caused by the usage of old wood for a recent piece is Furniture index
very limited. The wood develops
externally a coat (which we would call time life), suffers the attack of wood-worms with typical characteristics and it is corroded for the wear and tear. In some cases mainly on furniture of '800 Luigi XVI, we can helped by materials used, by the prints left by mechanical tools and by constructive tecniques
up dated. Besides everything we said before about the grain of the wood, the coat and so on it works here as well. It is obvious that talking about antique furniture the differences are scanty and only a few experts are capable to appreciate for example, the various tonalities of the crude parts of a furniture of I or II Empire, or of other styles or periods. The only possible judgement is aesthetic, although a late comer furniture made in province or in the city which makes middle-class clients happy for the furniture that doesn't have any signs of
inspiration, invention, elegance. Generally a late comer furniture is heavy, clumsy, less cured in the inlays, less rich in devotions, in the eventual gilding, in the bronzes. In other words the late comer furniture is simply recognizable for either the esecution or on the contrary for its emphasis. (1) Name of the famous craftsman of Pazza Parabiago, born in Parabiago near Milan in 1738-34, son Furniture index
of a craftsman, when he became of age he worked alone. His work was limited, the painter Giuseppe Levati discovered him noticing the quality of his furniture (he used
to like to work on walnut block) he asked Maggiolini to work on a chest of drawers. This was the episode (1766) that made him famous, he was 28 when he became one of the most famous artist of that period. He became the cabinet-maker of the high society and of the court, and he was the satire's object of the poem
"Il Giorno" of Parini. The beauty of his inlays and furniture is mainly for the plentful usage of woods, it seems 86 variety of woods, with different quality, different fibre, veining and colour, Maggiolini used the Furniture index
technique of the tint only for the blue and pink achieving many particular shading
with the usage of small pieces of wood. The best production is the one between 1780-96, the year when the austrian's dominion ended and the French arrived with bright mahogany furniture and decorations in golden bronze of mercury. When he died in 1814 his laboratory that had 30 workers, went to his son Carlo Francesco until 1834 and to Cherubino Mezzanzanica until 1866, and then extended until the end of the century with personnel such as Epifanio Moreschi, Giuseppe Vignati, Gaspare Bassano,Giuseppe Cassina. All these furniture used to be called Maggiolini,they used to be built by anonymous shops even
when both Giuseppe and his son Carlo Francesco died 20 years earlier.
LATE-COMER FURNITURE While in the cities and the middle-class societies fashion had already changed, for the furniture made in province the so-called "Late Comer Furniture" cannot be defined non-authentic, even if their commercial value is lower than the ones that bring the style on. In Florence, in Tuscany, in Umbria they used to built in '600 furniture similiar to those of the renaissance (1500). The craftsmen of Alto
Veneto pursued the Luigi XV style, when in Venice it was already outdated. The neoclassic style, apparently simple, has been repeated until the early '900. An antique buyer must be able to distinguish between a 1790's Maggiolini (1) and 1850's one; once it has been established the temporal distance and the qualitative, it shouldn't surprise us the
difference in prices. Unfortunately who doesn't know anything about art should ask a very skilled art expert. In some cases when we talk about pieces of art, and so of great value we also need scientific help, and in this case is "Spettrografia Molecolare" What is Spettrografia Molecolare? It is a method, used by many art experts, art collectors at an international level to guarantee themselves with a mathematical certainty for their art investments. This metod is based on: each molecule is composted of atoms that vibrate on a frequency if these are hit by radiations. Inserting a very tiny quantity of wood
of a tree just cut Furniture index
in a "Spettrometro", which registers the atoms vibrations of the single compounds, on the computer appears a curve that adds the chimical moleculars vibrations. As time passes, an external thin coat of the furniture dissolves rapidily, as the years go by, while the internal mass of the wood
breaks because of the microbes and the slow and gradual chimical processes, less influenced by the environment. The decomposition of the moleculars during the passed centuries alters the original curve that become so the typical print for a wood of a certain age. The absolute date is obtained comparing the investigated print with the prints of many samples for
wood of a certain age. the precision of the method depends by the type of the wood, for the woods commonly more used in antique this precision today is of +/-l0 years; the possibility of a wrong date caused by the usage of old wood for a recent piece is Furniture index
very limited. The wood develops
externally a coat (which we would call time life), suffers the attack of wood-worms with typical characteristics and it is corroded for the wear and tear. In some cases mainly on furniture of '800 Luigi XVI, we can helped by materials used, by the prints left by mechanical tools and by constructive tecniques
up dated. Besides everything we said before about the grain of the wood, the coat and so on it works here as well. It is obvious that talking about antique furniture the differences are scanty and only a few experts are capable to appreciate for example, the various tonalities of the crude parts of a furniture of I or II Empire, or of other styles or periods. The only possible judgement is aesthetic, although a late comer furniture made in province or in the city which makes middle-class clients happy for the furniture that doesn't have any signs of
inspiration, invention, elegance. Generally a late comer furniture is heavy, clumsy, less cured in the inlays, less rich in devotions, in the eventual gilding, in the bronzes. In other words the late comer furniture is simply recognizable for either the esecution or on the contrary for its emphasis. (1) Name of the famous craftsman of Pazza Parabiago, born in Parabiago near Milan in 1738-34, son Furniture index
of a craftsman, when he became of age he worked alone. His work was limited, the painter Giuseppe Levati discovered him noticing the quality of his furniture (he used
to like to work on walnut block) he asked Maggiolini to work on a chest of drawers. This was the episode (1766) that made him famous, he was 28 when he became one of the most famous artist of that period. He became the cabinet-maker of the high society and of the court, and he was the satire's object of the poem
"Il Giorno" of Parini. The beauty of his inlays and furniture is mainly for the plentful usage of woods, it seems 86 variety of woods, with different quality, different fibre, veining and colour, Maggiolini used the Furniture index
technique of the tint only for the blue and pink achieving many particular shading
with the usage of small pieces of wood. The best production is the one between 1780-96, the year when the austrian's dominion ended and the French arrived with bright mahogany furniture and decorations in golden bronze of mercury. When he died in 1814 his laboratory that had 30 workers, went to his son Carlo Francesco until 1834 and to Cherubino Mezzanzanica until 1866, and then extended until the end of the century with personnel such as Epifanio Moreschi, Giuseppe Vignati, Gaspare Bassano,Giuseppe Cassina. All these furniture used to be called Maggiolini,they used to be built by anonymous shops even
when both Giuseppe and his son Carlo Francesco died 20 years earlier.
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