R. Antonetto, Il mobile piemontese nel Settecento, Turin, 2010, vol. II, pl. 16.

RELATED LITERATURE

A. Midana, L'arte del legno in Piemonte nel Sei e Settecento, Turin, s.d., p. 167 fig.309

V. Viale, Mostra del Barocco piemontese, Turin, 1963, vol. III, "mobili ⛎e intagli", pl.193a

R. Antonetto, Il mobile piemontese nel Settecento, Vol. II, Turin, 2010, p. 140, fig.8

This pair of corner sofa-banquettes offers a brilliant solution to the challenge of transforming the corners of a salon into a dynamic and energetic focal point. They are designed to integrate seamlessly into the décor, enhancing the unity between the walls, ceiling, and furniture. They embody the 18^th century vision of total artistic cohesion, transforming any space into a harmonious, cohesive environment.

In this unique, innovative design there are no visibl💖e uprights to the centဣral part of the backrest. The upper rail, centered by a large perforated shell is not linked by a giltwood stile to each side of the seat.

An example of a mirror with a cresting with a design very similar to the shape of the back of our sofa is published by Roberto Antone🌠tto, N.15, pp. 184, 185.

While highly decorative, these sofas are also functional seating solutions that add elegance and sophistication to the corner of any room. The combination of form and function makes them both practical and vis﷽ually stunning.

Giancarlo Ferraris wrote a note emphasizing the uniqueness of these corner sofas, highlighting their rarity both for their angular shape and the highly unusual cimasa, which may have been designed to complement a boiserie. In his extensive research, he encountered only one comparable example of a ♐Turinese Baroque corner sofa: the one at♈ the Villa Cavour Museum.

Similar pieces by Bonzanigo were made for the Casa Savoia, a✱s recorded in the family register. Notably, in our sofa, the shell at the center of the backrest is composed of two parts, resembling the shell in the Piffetti console, crafted for the Royal Palace in Turin and now housed at the Museo Civico in Turin. The piercing in the shell’s decorative elements are reminiscent of those Piffetti used in the marquetry on the kneelers of the Dukes of Savoy, documented between 1749 and 1751. These designs are also seen in the doorway of the Church of San Filippo di Torino, signed and dated 1749, and in addition to both the Diana desk, attributed to Prinotto and now at the Museum of Furniture in Stupinigi, and a desk, attributed to Ludovico De Rossi, previously exhibited as a Piffetti work at the 1937 Baroque Piemontese Exhibition in Palazzo Carignano, Turin.

The legs of our sofa bear a resemblance to those seen on stools illustrated in the third volume of the Mostra del Barocco Piemontese fig. 193a, in the chapter on Furniture and Furnishings. Given these visible similꦑarities and the masterful craftsmanship, it is reasonable to assume that these stools and our sofas 🧔were part of a cohesive set.