Ref.03167
A sumptuous sculpted credenza coming from an exceptional furniture set realized by Moses Michelangelo Guggenheim for the Palazzo Papadopoli in Venice, Italy

This unique cabinet in two parts forms a credenza in its lower part. The base consists of a background decorated with three rectangular molded panels. The shelf rests on two armored and winged lions sculpted in the round. Their massive limbs are as impressive as their mouths, which seem to be more like dragons than those of lions. The quality of the sculpture is evident in the representation of hairs, scales that cover their chests and the extremely muscular necklines. The upper part of the credenza consists of two panels alternating with three women depicted in the bust and ending with a sheath and a sculpted wreath of acanthus leaves. Both panels are entirely sculpted: a fantasy architecture, inhabited by a bulging muscled putti supported by two griffins, shelters a medallion sculpted with a trophy of arms. The two panels meet symmetrically while the backings of the piece are also decorated with sculpted panels with motifs of arms trophies. The entablature has a frieze of festoons alternating with masks and encircled by shell motifs. Each sculpted panel has a texturized bottom, which increases the relief of the sculpted motifs and plays with the light on the prominent parts. Each surface of this cabinet is covered with carvings, in a kind of horror of emptiness that is typical of the 19th century interiors. The shape, inspired by the two-pieced cabinets of the Renaissance, has an affirmed architectural structure associated with an abundance of sculptures of dazzling skill. There is a real attention to woodworking, which offers stunning carved designs through their quantity and quality of execution.   In the nineteenth century in Europe, production of manufactured goods underwent an unprecedented growth: the decorative arts become the "arts applied to industry." Production of decorative arts in the second half of the nineteenth century faced dilemma: how to reconcile art with the appearance, around 1850, of mechanization and industrialization? How to reconcile traditional craftsmanship and mass production? Some, like the Guggenheim in Venice, were convinced that an alliance was possible, even necessary, between art and industry. It was necessary to reflect on the ways to produce artworks of extraordinary quality and that would still be able to profit from the possibilities offered by the evermore efficient technical means. In many factories, this was demonstrated by the collaboration between artists and manufacturers. In Stabilimento d'Arti Decorative e Industriali, Guggenheim himself occupied all these positions: antiques buff, he had built a personal culture second to none and used his library and his personal collection of artwork as a repertoire of designs that needed to by studied and understood. This was characteristic of the time, which held the conviction that the renewal of decorative arts was inseparable from the study of historical styles. The direct inspiration of these past decors shows a great passion for history, quite representative of Guggenheim .

Ref.11867
Small Neo-Renaissance style display cabinet

This Neo-Renaissance style display cabinet was made in the 19th century. Made of richly carved walnut, its decoration features characters in armour, busts of satyrs and chimeras. It opens in the upper part through two glass doors.

Ref.12114
Pair of Napoleon III style oak doors

Pair of antique doors made in the 19th century, Napoleon III style, in oak carved with fantastic animal heads.

Ref.12255
Group of four Neo-Gothic style confessionals in oak

A group of four antique confessionals in Neo-Gothic style, made of oak.

Ref.11381
Gabriel VIARDOT (attributed to) - Asymmetrical cabinet with rich engraved and sculpted decoration of extreme oriental inspiration

The creation circa 1870-1880 of this asymmetrical Japanese wardrobe in sycamore and bronze is attributed to the leader of the Japonisme in France, the furniture maker Gabriel Viardot (1830-1904). This attribution is allowed because of the high making quality of the furniture and by stylistic comparison to other signed pieces of drawn in the archives sketchbook. Gabriel Viardot starts his career in the Jeanselme furniture workshop, furnisher of the Napoleon III court, before starting his own as a wood sculptor in 1849. He was then already the head of a small sculptors team even though he was only 19 years old. He opens in 1853, a workshop and a wood furniture and decorative objets shop located on the 36 and 38 rue Rambuteau in Paris. At this time, Gabriel works with his brother, Alexandre-Laurent, under the company name “Viardot Frère & Cie”. Seven years later, in 1860, he creates his own workshop « G. Viardot », on the 5 rue du Grand-Chantier, and takes the direction of the family business until 1872. He decides then to dedicate his production to the Chinese-Japanese furniture that he had observed during the 1867 World Fair. His characteristic furniture production was made with lacquered panel sent directly from China or Japan, often adorned with Tonkin mother of pearl inlays. The furniture were next lightened up with decorative bronzes of which the models were created by himself. Gabriel Viardot participates to many exhibitions that mark the artistic scenes of the second half of the 19th century. Each participation was successful, indeed, he wins in the 1878 World Fair a silver medal, then in 1855 in Antwerp and in Paris in 1889 and 1900 gold medals. He also participated to the exhibitions of the Union Centrale des Arts Décoratifs where he is in a class of his own and jury member from 1884. In the middle of the 1880’s, his company employed between 90 and 100 furniture makers and sculptors trained by himself. He also employs almost 20 subcontractors. From 1890, he creates furniture models for the famous decorative arts and furniture company, l’Escalier de Cristal. Indeed, we can read on Henry Pannier’s notebooks, the Viardot name associated to the description of some furniture. Viardot organizes his succession on the 26thDecembre 1890 by creating the "G. Viardot et Cie", company in which he associates his two children. When he dies in 1906, they take the direction of the workshop.