The rectangular top incised with motifs of bamboo, clouds, a cartouche containing characters and two panels depicting a naval battle and a landscape scene, within a japanese key-pattern border, above a geometrically-incised frieze with pierced fret-cast mounts containing two lateral drawers, on elaborately carved supports joined by a pierced stretcher, on scroll feet, stamped with cursive G Viardot to each leg, with additional stamp H.WILD to underside of top
30 in. (76 cm.) high; 92¹⁄₂ in. (235 cm.) wide; 29 in. (73 cm.) deep

C. Payne, Paris Furniture: The Luxury Market of the 19th Century, Saint-Remy-en-l'Eau, 2018, pp. 541. (the model)

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Lot Essay

Arguably one of the most imaginative designers of the latter half of the 19^thcentury in France, Gabriel Viardot (1830-1906) won fame from the 1860s onwards with "his Japanese furniture, which is always impressive in terms of both tone and accomplished execution.". Following the re-opening of Japan to the west in 1853 a stream of hitherto unseen oriental good flowed into Europe infiltrating all forms of artistic expression, emphasized with their presence at the international exhibitions. This lead to the artic critic Philippe Burty’s coining of the phrase ‘japonism’ in 1872 used to denote this style, which whilst eastern inspiration, was wholly western in conception. In 1889 Viardot won a gold medal for his furniture at the Paris International Exhibition, following the award of a silver medal in 1878 and four medals in 1867.