A rosewood table inlaid with walnut, rosewood, boxwood, maple, green-tinted maple, and other unidentified woods. The most prestigious pieces of furniture bear the cartouche inscription "Maggiolini Intarsiatore delle LL. AA. RR. Parabiago presso Milano," certifying a patent granted to him by Ferdinand of Habsburg. The Archduke bestowed upon him the title of "Intarsiatore di Sua Altezza Reale" (Royal Highness’s Inlayer), which is found as a signature in the form of a cartouche on very few pieces of furniture that have survived to this day.
From the inscriptions on this piece, it is evident that it is one of the rare signed examples by the famous Milanese cabinetmaker. Throughout the last quarter of the 18th century, he was engaged in crafting elaborate furnishings for the court and the Milanese aristocracy. The simple yet elegant structure of the piece is enriched by an inlay depicting a floral composition.
At that time, Milan was bustling with preparations for the wedding of Ferdinand, son of Empress Maria Theresa, Archduke and Governor of Lombardy, to Archduchess Maria Beatrice d’Este. The Empress wished to prepare a fitting residence where splendor and luxury would abound. A commission, including Count Monti, Melzi, and Marquis Moriggia, was entrusted with the task. They summoned to court the most distinguished artists, architects, painters, sculptors, stucco workers, and cabinetmakers, including Maggiolini from Parabiago, who enthusiastically took on the challenge.
Jealousy nearly thwarted Maggiolini’s efforts early on. However, being good-natured yet resolute, he avoided conflict by returning to the tranquility of his hometown with his team of 12 craftsmen. After the wedding festivities in 1771, the Empress ordered restorations to the Court Palace under the direction of the renowned architect Piermarini from Foligno. On this occasion, and possibly influenced by Marquis Moriggia or painter Levati, Maggiolini was again called upon for parquetry work.
During this period, Maggiolini, with the help of his painter friend, connected with a circle of artists who soon became colleagues and close acquaintances. He also had the opportunity to meet and interact with the Archduke and his consort, who treated him with exceptional kindness, granting him, among other honors, the title of "Intarsiatore delle LL. AA. RR".
31,30in x 31,30in h:30,31in
Private collection
Marangoni G., Gli intarsi di Giuseppe Maggiolini, "Città di Milano", a. XXXIV, n. 3, Milano 1918, p. 54.
Beretti G., González-Palacios A., Giuseppe Maggiolini. Catalogo ragionato dei disegni, Milano 2014, pp. 238-239.
Imperfections and restorations. Non-original drawer handle.
Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each product to satisfy themselves as to condition and must understand that any statement made by Coradi Rare Finds is merely a subjective opinion.
Maggiolini Giuseppe - Parabiago 1738, Parabiago 1814; was an Italian cabinetmaker and marquetry artist, renowned for his extraordinary craftsmanship and innovative designs in the neoclassical style. His work epitomized the elegance and refinement of late 18th-century Italian furniture design, earning him a lasting place in the history of decorative arts.
Born in Parabiago, near Milan, Maggiolini was the son of a modest craftsman. He initially trained as a carpenter and joiner but quickly developed an interest in decorative arts. His talent for precision and creativity caught the attention of local patrons, which allowed him to refine his skills. Over time, he transitioned from basic carpentry to the intricate art of marquetry, a decorative technique involving inlaid pieces of wood to form patterns or images.
Maggiolini rose to prominence in the late 18th century, a period marked by the popularity of neoclassicism. This movement sought to revive the art and design of ancient Greece and Rome, emphasizing symmetry, clarity, and harmony. Maggiolini embraced these principles, incorporating classical motifs such as garlands, urns, laurel wreaths, and mythological scenes into his furniture designs.
What set Maggiolini apart was his unparalleled mastery of marquetry. He used a variety of woods, often more than 80 different types, to create detailed and vibrant designs. His technique involved carefully selecting woods with natural colors and grains to mimic the appearance of paintings. The result was furniture that not only served functional purposes but also stood as works of art.
Maggiolini's reputation earned him commissions from Italy's most distinguished families, including the Borromeo, Trivulzio, and Serbelloni. His work was also highly sought after by European royalty and aristocracy. One of his most notable patrons was Empress Maria Theresa of Austria, who recognized his talent and helped elevate his status.
Maggiolini frequently collaborated with prominent architects and designers of the time, such as Giuseppe Piermarini, the architect of Milan's La Scala opera house. These collaborations ensured that his furniture harmonized with the interiors of the grand neoclassical buildings being constructed during that era.
Maggiolini's workshop became a hub of innovation and excellence, influencing furniture-making across Europe. He trained numerous apprentices, spreading his techniques and style far beyond Milan. His pieces remain highly prized for their artistry and historical significance, often displayed in museums and private collections.
Maggiolini's legacy lies not only in his exquisite craftsmanship but also in his ability to elevate furniture-making to the level of fine art. By blending technical precision with artistic vision, he set new standards for decorative furniture that resonate to this day. His work exemplifies the peak of Italian neoclassical design, bridging the gap between functionality and aesthetic grandeur.