A pair of Italian painted benches, Genoa or Parma circa 1720

the shaped back decorated with architectural rococo motifs, the seat also painted and opening as a chest

Related literature

E. Colle, Il mobile barocco in Italia, Milan, 2000, p.261
G. Manni, Mobili antichi in Emilia Romagna, Modena, 1993, p. 34, pl. 63

These very decorative painted benches display overall marks and scratches consistent with age and use, and traces of old woodworm which appears to be no longer active. One bench with reinforcement brackets to its rear back, which is also marked '1 / G P'. The painted decoration on the backrest with areas of flaking and marks, including but not limited to a central scratch that will require some attention. The seat - with flaking and fading to the decoration - has been secured to the base. Both lower scrolls on the back have been broken and re-attached, although this is hardly noticeable as per catalogue photograph. A very small area of the moulding behind the lifting seat on both sides is in need of some attention, as is the lower-left moulding on the right side of the base, which is nearly detached. The other bench with upper decoration refreshed, with marks and scratches visible from the catalogue photograph. The seat and base with fading and losses to the painted surface. The lower-right scroll on the base has been broken and re-attached. Both bases with later reinforcements. Both pieces would benefit from some light cleaning.
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Dating back to the early Renaissance, and together with forced perspective in architecture, illusionist painting was especially popular in Italian interiors during the 17^th and early 18^th centuries. At this t.mes , the technique was frequently employed for loggie, entrance halls, galleries and salons of private residences, ville or palazzi; matching furniture would be commissioned specifically for such spaces.

An evolution of the cassone, the cassapanca served both as a functional piece of furniture and as a vehicle for exuberant baroque decoration, which encompassed family crests, allegorical figures and trompe l'œil elements. Such pieces, normally survivors of much larger suites that were later dispersed, are found throughout Italy, but especially in Liguria, Tuscany and Emilia.