The European Decorative Arts Company is proud to present an outstanding collection of European Ivory Carvings from the 17th through the 19th centuries. The group of ivory sculptures featured on this website reflect many of the major art movements that took place in Europe, from the Baroque and Neo-classical, through the Romantic and Historicist periods. Our collection includes works by celebrated artists such as Froment Meurice, Anton Diessl, Duvinage, Maison Alphonse Giroux, and Wilhelm Schulz.

 

In-person viewing of our extensive collection can be arranged at our by-appointment-only showrooms.

 

For any questions regarding our offerings, please contact us at:

P. 516-621-1771

C. 516-643-1538

eurodecart@gmail.com

 

<< Back to List

Siena-Primavera Wall Plaque by Pietro Giusti (?), circa 1855


Maker(s):  Pietro Giusti (?), circa 1855
Date: Circa 1855
Materials/Techniques:    Carved walnut, ebony and ivory, enclosed in glass and wood frame
Dimensions: h 13.0 "
w 9.0 "

Origin: Italian
Inventory #: 688
Inscription:
THE WOOD INSCRIBED SIENA AND THE IVORY INSCRIBED PRIMAVERA
33 x 23 cm

Other:


Photo Gallery (click image to enlarge; If the CLOSE button doesn't work in your browser, you can exit the enlarge view by clicking anywhere outside of the image area.)


The art of carving wood with great virtuoso skill enjoyed a tremendous revival in Italy in the mid to late 19th century. Giusti, along with Egisto Gajani and Luigi Frullini, was one of the leading exponents in this technique working in Tuscany in the 1860's and 70's. He apprenticed in the workshop of the very talented intagliatore, Angiolo Barbetti (1805-73) before opening his own shop on the via Galgaria. He exhibited at many of the International exhibitions, attracting the attention of wealthy patrons such as Lord Northesk, the Duke of Northumberland, George Vivian and Sir Coutts Lindsay, founder of the Grosvenor Gallery. Between 1852-1856 he carved over 500 walnut frames in the mannerist (16th century) taste, and throughout his thirty-year

career he executed over three hundred other designs for decorative objects. Many of the frames, with differing designs, but basically incorporating the same arabesque and trailing foliage vocabulary with birds, were exhibited in London (1862) and in Paris (1867), and are illustrated in Masterpieces of 19th-century Decorative Art, Pepin Press, 2001, pp. 309, 342, 343.

FURTHER READING:
Simone Chiarugi, 
Botteghe di Mobilieri in Toscana 1780-1900, Volume I, Florence, 1994, pp. 483-491.