Rare Venetian, two long drawer, Rococo commode.

Decorated in exuberant decorative gold and polychrome motifs on a black ground, following oriental prototypes albeit on a typically European furniture type.

Of bombe design, with protruding undulating front and sides that endow it with grace and elegance, the scalloped top following the sinuous case shapes. Formally close to a Louis XV model, but filled with exuberant and distinctly Italian, specifically Venetian, character, its surfaces are fully decorated in exotic compositions combined with ornamental Rococo details.

The front is arranged in two superimposed drawers of no horizontal divider, allowing for seamless decorative continuity, framed by raised and gilt frieze, interrupted at the top drawer by central lock escutcheon and by shell motif on the lower drawer. On the corners a discreet stylised foliage detail.

The decorative composition spreads over two separate fields, divided by a large willow tree. On the left an imaginary oriental building, of various gabled roofs, within a garden. On the scene’s upper section a child and a female figure observe an approaching male wearing trousers, waist tied loose tunic and a hat. On the lower section a male figure on a terrace where a female plays a musical instrument. Two other female figures walk towards the garden.

On the right hand side, the composition is fully taken by a rock outcrop from which emerge large flowers of obvious oriental inspiration, foliage, a bird and a butterfly. On the top rail and on the exuberantly scalloped apron, similar decorative elements of flowers, human figures and birds.

The case front corners as well as the side panels, are densely filled by exuberant, vertical raised cartouche sections of Rococo frames, with Chinese figures, flowers, foliage motifs and ribbons.

For the top, the decorator artist has chosen a bucolic oriental garden view with trees, balustrades and gabled roof pavilion, in which a child plays while a female figure strolls under a parasol, carried by a man servant. On her side a horse riding male next to a walking figure, probably also a servant.

The legs, short and robust, of pronounced cabriole adorned by mid-height volute frieze, fit directly into the case and end in typically Louis XV stylised raised scroll feet.

In the collection of Venice’s Museo del Settecento – Palazzo Rezzonico, there are two commodes of identical shape and similar decoration to our example, albeit lacquered in green and of denser composition, and marbled tops.

Rococo Venetian Furniture

Characteristic of Venetian furniture, lacquered pieces produced from the 17th century onwards, embody a specific aesthetic concept, linked to their intrinsic vibrant colour exoticism and to the manner they fit so harmoniously into the global decorative projects for which they were conceived. In instances when occasionally a Venetian palace is emptied of its original wall decorative elements, it is still possible to notice rough drafts of furniture pieces drawn directly onto the stucco, for the purpose of illustrating the visual effect they would have in their envisaged position.

In the 18th century, furniture makers will absorb the essence of the French Rococo style, somehow determined to improve it. For that purpose, furniture pieces will be modified, becoming larger and broader, and having their shapes accentuated in an exuberance of sinuous curves and counter curves that will distance them from their French counterparts. Furthermore, the frivolous details of the French decorative elements will become bolder and their solid appearance even more marked. In its reinterpretation Rococo furniture will somehow loose its discreet elegance and, often, considerable manufacturing quality.

In relation to its decorative details it is clear that, from the early 18th century onwards, Venetian artists and crafters choose to base their imitation lacquers directly on models imported from the Far-east. Red, green or black backgrounds become the support for golden chinoiserie motifs of mandarins, figures with parasols, opium pipe smokers, Mongol servants and exotic beasts. A whole fantastic, and almost caricature like universe that will survive, on furniture decoration, throughout the entire century.

Lacquering was made not only in Venice, but in many other cities, although it is relevant to note that Italian lacquer varnish was thinner and of lower quality than that of its English and Northern European counterparts. Albeit this relevant qualitative difference, Italian artists would develop another type of imitation lacquer, at an even lower cost, known as lacca contrafatta or lacca povera. Mainly used in Venice, this technique involved the preparation of the surfaces at the desired colour, onto which were applied paper cut outs of rustic figures or brightly coloured chinoiseries, often published by the Remondini de Bassano del Grappa company, that were later varnished.

Gradually, a greater freedom in the use of chinoiserie decorative motifs, becomes evident. The style takes on a somehow westernised character, adopting scenes inhabited by putti and classical goddesses playing amongst Rococo garlands and flower motifs. It is also possible that some of these compositions might have been created in the studios of renowned Venetian artists, which were also responsible for designing and decorating the rooms that would accommodate this same furniture. Perhaps for this reason, they often exhibit the decorative exuberance and artistic freedom that is typical of Venetian pictorial production.

The most abundant and characteristic typologies of Venetian Rococo furniture production – commodes and consoles – were mostly assembled in a local conifer timber known as “cirmolo”, Pinus cembra. A thin stucco or plaster layer and a fine textile, fixed with animal glue, would then be applied onto this substrate. Once dried and polished it would acquire the necessary surface that allowed for artists to paint, in tempera, their desired decorative motifs. These would later be lacquered over with a type of varnish similar to that developed in France by the Martin brothers.

In addition to chinoiserie furniture, another type of painted furniture, known as “lacca” was also popular and well recorded in cupboards of landscape decorated doors, raised garland ornamented commodes and small flower bouquet adorned harpsicord cases. This type of decoration, often reflecting the artistic style of contemporary artists, has been attributed to renowned painters such as Tiepolo or Guardi. Although a tempting premise, it is unlikely that such major artists would become involved in furniture decoration, for no other reason than that they belonged to a different guild. It would nonetheless be plausible to consider that these artists, might indeed have produced furniture designs for the same rooms, whose walls and ceilings they decorated, as it can be inferred from the Tiepolo studio drawings at the Victoria & Albert Museum, which include plans for commodes and for a console.

Furniture designs could also be supplied by renowned architects. Filippo Juvarra that worked for the Savoy crown in Turin, provided numerous designs for consoles, and probably also drafts for Palaces and Villas global decorative projects in which furniture was included. The decoration of these pieces would adopt motifs that would mirror and extend those of the corresponding room’s frescoes and panelling. Juvarra’s example would be followed by other architects such as Benedetto Alfieri, who would in the 1760s be responsible for the decorative project of Turin’s Accademia Filarmonica Gallery, as well as for its decorative and seat furniture. Most Venetian decorator artists however, remained anonymous, seldom stamping or marking their work.

Bibliography:

Impey, Oliver, Chinoiserie – The Impact of Oriental Styles on Western Art and Decoration, Charles Scribner’s Sons, New York, 1977

Jarry Madeleine, Chinoiserie, Chinese influence on European Decorative Art, 17th and 18th centuries, Sotheby Publications, London, 1981

Mobili Dipinti - Tempera, Lacca ed Arte povera nelle botteghe italiane tra XVII e XVIII secolo. A cura di Elisabetta Barbolini Ferrari. Icaro edizioni. Modena. 2004

World Furniture, An illustrated history edited by Helena Hayward, The Hamlyn Publishing Group Limited. London, New York, Sydney, Toronto. 1969 (Chapter VI The Eighteenth Century, Italy. Hugh Honour)

Websites:

www.cerezzonico.visitmuve.it Ca’Rezzonico Room card (17 Green lacquer room)

www.britannica.com Encyclopedia Britannica online