Let's start with the first photo, which is our fictional computer simulation where the important work is imagined in a modern, high-end furnishing context. A surprising 'modernity', luminosity, and abstraction emerge for a work conceived two centuries ago, as well as a great touch of class and extraordinary elegance to the whole. High Viennese antique cabinet making, with its sober and minimal elegance, is closely linked to the lines of modern furniture.
The furniture, description:
Vienna 1800-1810 approx., First Empire, likely workshop of Johann Härle, master in Vienna. Important museum-quality "pyramid" secretaire (the shape is inspired by Egyptian stepped pyramids). Monumental work of the First Empire in practically intact condition and in original patina, with masterful museum-standard shellac finish applied using a pad technique. Originally commissioned by high nobility of the Austrian Empire, as certified by inscriptions and labels of the time applied by the original family, the first owner and commissioner of the work. Pyramid Empire secrétaire were made almost exclusively in the two capitals (Austrian - Vienna and Berlin - Prussian); but the perfect proportions, elegance, softness, the use of yew as the main wood instead of mahogany, the decorations in carved and gilded wood leaf instead of fire-gilded bronze, clearly indicate Viennese origin. There are similarities in technical details and decorative motifs with the works of the great Viennese cabinetmaker Johann Härle, of which two important works are preserved at the Museum of Applied Arts in Vienna. The work is entirely veneered in the rare and precious wood of the yew shrub. This wood was more frequently used only for inlays in the interiors. The use on the entire external surface of the furniture testifies to the high commission and its representative function. The interior, which boasts 4 different secret compartments with a total of 12 hidden drawers (in addition to the visible ones, of course) is finely veneered and inlaid with the precious woods of thuja, blonde walnut feather, cherry feather, walnut burl, poplar burl. Maple and stained maple wood threads. Ebonized details. Body of internal drawers in maple and oak woods. Acanthus and palmette motifs carved and gilded with leaf in the elevation. Ebonized lozenge motifs. Side columns with vestals with folded arms carved and gilded with leaf with details in antique green lacquer. Opposing and diverging male heads carved and lacquered in antique green resting on carved and gilded griffins with leaf (the latter also heraldic symbol of the commissioning family). The opposing heads represent the Roman god Janus, who could look to the future and the past, guardian of every form of passage and change, protector of everything that concerned a beginning and an end. The works of the great ancient masters are also identifiable by the great knowledge and culture of mythology and theology that they had to possess, which is evident from the themes and symbolism used. All the lacquers and gilding are original, spouts, lion's head knob, functioning locks are also original. The feet are original and that slight chromatic difference in the front of the same is a deliberate decorative effect that recalls the tone of the writing top, veneered in the edges in thuja, precisely lighter. Original backs and bottoms. Patina, signs of use and age consistent with the era. Measures cm. 208 in height, 110.5 in width, depth 50 - 86.5 closed / open.
In accordance with the provisions of the New Code of Cultural Heritage, the selling company provides simultaneously with the sale a detailed written photographic guarantee of originality and provenance of the works sold. The data with which the works are described and then contained in the written guarantees are expressed determinations resulting from accurate and documented technical/historical/artistic investigations, even of expert importance.
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