Portuguese furniture in the collection of Anastásio Gonçalves
The section of Portuguese furniture is the largest part of the collection and it allows us to take a wide comprehensive look at the national production between the late 17th century and early 19th century. The collector showed a clear preference for this period, with an evident fondness for low and finely carved, highly plastic work produced from rosewood and constituting the seating furniture a fairly representative sample.
Armchair (pair)
Red and gold japanned walnut; damask silk Portugal, late 17th century/early 18th century
It is likely that these examples, despite their upholstery in embroidered silk, have had covers placed over the seat and back, on special occasions, a use that lay at the origin of the term 'cadeira de vestir' (dressing chair).
The japanning of the chair’s visible wood, in a shade of red, also made use of small gilded compositions, verging on the miniature with patterns highly stylized, either inspired by the oriental decorative repertoire – rocks, pagodas, grasshoppers and aquatic plants – or based upon European themes – leaves, floral patterns, figures dressed in European clothes, but nonetheless depicted in an oriental style, assuming the naïve and fantastic character of Portuguese japanning.
Semi-commode
Dark green and gold japanned box wood; brass Portugal, mid-18th century
This piece is made from the so-called "madeira de caixa" or "madeira de caixa de assucar" (sugar-box wood), as it was also known. Around the end of the 17th century, due to the shortage of wood, began the use of Brazilian mahogany and the other kinds of wood originating from the sugar-boxes Portugal imported from that colony.
The japanning technique is therefore based on the Chinese decorative repertoire with motifs very freely drawn, such as the somewhat stocky figures, revealing an exoticism through the representation of fauna from other areas of the world, such as the ostrich and through the assimilation of other influences, such as the string of beads on which various figures can be seen swinging, similar to the compositions of the painter Jean Pillement (1728-1808).
Day bed
Rosewood and velvet moquette
Portugal, third quarter of the 18th century
This example continues the forms and decoration of the beds with solid wood headboards, carved and shaped at the top and crowned with plumes or shells, differing from them through the backward slope of the headboard. It belongs to the type of furniture designed for resting during the day, which comfort is offered by the mattress lined with velvet.
The great height of the back, the accentuated curving of the piece, taking the shape of a spoon handle, the agitated shaping of the splat and the artistic value of the carved rocaille decoration gives it a brilliance and an opulence that contrast with the more sober construction and ornamentation of most models of this type.
Writing chair
Rosewood, mahogany and cane
Portugal, middle or third quarter of the 18th century
The type of chair designated by corner chair or study chair with a very special configuration, was introduced in Portugal in the 18th century, together with the English chairs with trapezoid backs, corresponding to the English writing chair, and intended to be used by men.
Armchair
Walnut and velvet
Portugal, third quarter of the 18th century
This type of chair was inspired upon the straight-backed fauteuils à la reine, following the decoration of French models; however the shape of the back, completely upholstered and without any visible wood may have come from Chippendale.
The carved treatment given to the back of the rim, together with its large proportions, betray the fact that it was intended to be use in ceremonial acts in which it would be seen from all sides and the excessive widening of the seats is in keeping with the fashion of panniers dresses.
