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拍品专文
This richly carved armchair, constructed of solid walnut, is characteristic of a period of design with a diverse intersection of cultural and historical influence. Often referred to as a ‘Roman’ armchair, examples of this design were reproduced throughout Barcelona at the end of the 19th century, by workshops such as John Busquets, Jose Ribas, and in stores like El Siglo. The style was also sometimes referred to as ‘febo’ and represented a modern interpretation of an historic form adapted for contemporary tastes. The distinctive diagonal upright that runs the length of the chair forming the feet, legs and connecting the chairback, along with the zoomorphic design of arms, are represented on the present lot. The reference to ‘Roman’ style furniture likely derives from the similarities of Roman ‘throne’ chairs, with severe angles, and ornately carved decoration laden with symbolism.
Historically, it was suggested that a drawing by Antoni Gaudí (1852-1926) for the Palau Güell in Barcelona, circa 1919-20, served as the direct precedent for this design. However, in 1884, Francesc Vidal i Jevellí (1847-1914) presented "A Roman-style armchair" at the Exposición de Artes Industriales in Barcelona and later illustrated a nearly identical chair in the firm’s 1880 catalogue. The other aforementioned firms and Casa Vidal produced various iterations of this style in the form of sofas, chairs and footstools, and the differences between each maker’s works is only subtle. The number of examples still preserved indicates the strong success of the model and its design. Further examples of similar armchairs and canapés by Vidal are in the Museu del Disseny de Barcelona (MADB 113.842 and MADB 113.840) and the Palau Güell.
This history of this design is made all the more interesting due to recent scholarship, noting close references to that of German neo-Gothic style furniture. German architect Franz Ewerbeck exhibited a very similar chair, with sharp diagonal stretcher and zoomorphic armrests, at the monthly Gewerbehalle in Stuttgart in 1873, just ten years before Vidal exhibited his chair at the Exposición de Artes Industriales. The confluence of German design in Barcelona is not unheard of, as much of the furniture in Catalonia from this period was in the ‘Gründerzeit’ or historicism style. The ‘Gründerzeit’ era dates to a period from 1871 to the 1900s and coincided with ‘alfonsino’ or the eclectic style in Spain. This style was even sometimes referred to as ‘d’estil alemany’ or ‘Renaixement alemany’ by workshops and department stores, like El Siglo. The structural and stylistic differences between Vidal and Ewerbeck’s examples are only minor and largely within the nuance of their decoration. Each example portrays the same base geometric influence of Roman furniture, with the circular seat and square back, as well as the sharp diagonal upright and zoomorphic arms characteristic of this design.
For further discussion, see:
M. P. Miquel, “El sillón romano de Barcelona y sus precedentes alemanes”, Eclecticisme, l’avantsala del modernisme: espais imobiliari, Associació per a l’Estudi del Moble i Museu del Disseny de Barcelona, 2014, pp. 113-124.
R. Dalisi, Gaudi Furniture, London, 1979, pp. 112-113.
J. E. Cirlot, Gaudi, New York, 1967.
Historically, it was suggested that a drawing by Antoni Gaudí (1852-1926) for the Palau Güell in Barcelona, circa 1919-20, served as the direct precedent for this design. However, in 1884, Francesc Vidal i Jevellí (1847-1914) presented "A Roman-style armchair" at the Exposición de Artes Industriales in Barcelona and later illustrated a nearly identical chair in the firm’s 1880 catalogue. The other aforementioned firms and Casa Vidal produced various iterations of this style in the form of sofas, chairs and footstools, and the differences between each maker’s works is only subtle. The number of examples still preserved indicates the strong success of the model and its design. Further examples of similar armchairs and canapés by Vidal are in the Museu del Disseny de Barcelona (MADB 113.842 and MADB 113.840) and the Palau Güell.
This history of this design is made all the more interesting due to recent scholarship, noting close references to that of German neo-Gothic style furniture. German architect Franz Ewerbeck exhibited a very similar chair, with sharp diagonal stretcher and zoomorphic armrests, at the monthly Gewerbehalle in Stuttgart in 1873, just ten years before Vidal exhibited his chair at the Exposición de Artes Industriales. The confluence of German design in Barcelona is not unheard of, as much of the furniture in Catalonia from this period was in the ‘Gründerzeit’ or historicism style. The ‘Gründerzeit’ era dates to a period from 1871 to the 1900s and coincided with ‘alfonsino’ or the eclectic style in Spain. This style was even sometimes referred to as ‘d’estil alemany’ or ‘Renaixement alemany’ by workshops and department stores, like El Siglo. The structural and stylistic differences between Vidal and Ewerbeck’s examples are only minor and largely within the nuance of their decoration. Each example portrays the same base geometric influence of Roman furniture, with the circular seat and square back, as well as the sharp diagonal upright and zoomorphic arms characteristic of this design.
For further discussion, see:
M. P. Miquel, “El sillón romano de Barcelona y sus precedentes alemanes”, Eclecticisme, l’avantsala del modernisme: espais imobiliari, Associació per a l’Estudi del Moble i Museu del Disseny de Barcelona, 2014, pp. 113-124.
R. Dalisi, Gaudi Furniture, London, 1979, pp. 112-113.
J. E. Cirlot, Gaudi, New York, 1967.