CRAFT STORIES | EUROPE | ITALY | WOODWORK
The Venetian Lacca Povera Technique
Art historian Marco Mansi explores the timeless charm of the Venetian Lacca Povera technique - an ingenious, resourceful craft first developed by artisans in the 18th century.
The lustrous allure of Asian lacquer, obtained from tree sap and often inlaid with precious materials such as gold and mother-of-pearl, has captivated European tastes for centuries. However, its intricate production and high cost made it a rare luxury. As the 18th century dawned, while the authentic technique remained a mystery in Europe, skilled artisans sought ingenious alternatives. Their creativity led to the development of découpage, a method where paper illustrations were coated with multiple layers of varnish, capturing the look of the admired Asian artistry at a more affordable price.
In Italy, découpage was known as lacca contraffatta or lacca povera (poor man’s lacquer). Venice quickly established itself as the pivotal hub for this technique, with cabinets, console tables, and snuffboxes being exported all around the European continent. The city’s leadership in this field was no accident. Indeed, local artisans from the guild of the Depentori had been mastering varnishing techniques since the13th century to protect wooden furniture from the moisture of the lagoon. By the mid-1500s, these gifted craftsmen began experimenting with imitations of Asian lacquer formerly aesthetic purposes.
As the allure of lacca povera surged in the 1720s, businesses recognized an opportunity to cater to this burgeoning trend. The Remondini family of Bassano del Grappa, near Venice, swiftly rose to prominence. Giovanni Antonio Remondini laid the foundation, starting with a single printing press and a few wooden blocks engraved with saint images. Under his leadership, the business astutely expanded, and soon, the Remondini catalogs were promoting a curated array of printed images tailored for découpage. These booklets encouraged artisans and amateurs to “cut out and paste" them onto various items. The motifs varied from enchanting chinoiserie figures to rural scenes of shepherds and huntsmen. Such strategic moves transformed the Remondini’s once-humble print business into a thriving venture, their amassed wealth rivaling that of the Venetian elite.
While Venice’s lacca povera dominated European markets, the allure of découpage resonated across borders. Each country brought a unique flair to the technique, with Germany and Italy markedly embracing bold colors. The proliferation of instructional guides also evidences the rising tide of découpage’s popularity during this period. Johann Martin Teuber’s treatise catered to the German elite, proudly including a list of his predominantly aristocratic clientele. Meanwhile, across the Channel, Robert Sayer’s The Ladies Amusement, or Whole Art of Japanning Made Easy, delved into the practical aspects of making découpage, despite what its title might suggest.
Initially intended as budget-friendly alternatives to Asian lacquer, lacca povera and similar découpage techniques swiftly gained favor among the elite and reached even royal circles. A fire screen at the Charlottenburg Palace in Berlin bears the initials of Queen Sophia Dorothea of Prussia. In Denmark, both wives of Frederick IV and his brother, Prince Charles, were known practitioners of this technique.
Countering the perception of découpage as a purely feminine pursuit, a long letter penned in1727 by M. Constantin to an unknown marquis highlighted its broader charm, signaling a shift in high-society preferences: “Tapestry and knotting are no longer in question; one has left behind spinning wheels and shuttles; one wants nothing but découpage.” He further elaborated on its allure by describing a typical scene: “As soon as a gentleman arrives at a lady’s house, an image is given to him, he then takes his scissors from his pocket and begins to cut. It is a new and excellent quality to know how to make découpage.”
Despite their meteoric rise and immense popularity, découpage techniques, including lacca povera, gradually faded from the lime-light as the restrained aesthetics of the Louis XVI style overshadowed the flamboyant frivolity of the Rococo. Today, only a handful of lacca povera furniture pieces survive in museums and private collections. These exquisite artifacts stand as a testament to the unparalleled craftsmanship of Venetian artisans and continue to captivate the attention of discerning collectors worldwide.
Words by Marco Mansi
Images from the Fletcher Fund, 1925
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