irony refined by education and experience, which reveals itself in a
weightless outlook on the things of this world.
A great traveller and a fine aesthete, Chiari knew that in beautiful
houses anywhere, tradition, classicism, past, present, ancient art and
contemporary art can coexist in harmony.
Chiari would look at the furnishings of the past, even the far past,
with the eyes of a modern-day architect.
With this spirit, adopted and shared by ColomboStile, Maurizio Chiari
approached the historical furniture of the Museum of History.
Every item, chosen together with the museum curators, was analysed
in detail. The intention was to make the replicas in the same shape of
the original models, even applying the original construction methods,
some of which surprising for their ingenuity or their resemblance to
modern solutions.
After the subsequent philological interpretation and after the careful
measurements taken by ColomboStile’s personnel, the officials and the
experts of the State Historical Museum authorised Maurizio Chiari to
make a limited number of small formal changes.
For example, the pilasters on the late nineteenth century mahogany
and brass writing table (2306 SC), originally made of mahogany,
were changed to faux marble, and also the sphinxes, in order to better
harmonize them with the lunette and give the piece a less heavy
appearance.
Working on a late Empire console table made of gold-and-silver finished
carved mahogany (2320 CN), which had belonged to a nobleman’s
mansion during the reign of Nicholas II, Chiari decided to replace the
silver finish with an antiqued ivory lacquer, which, in his authoritative
opinion, was better suited to the original style.
The decorative rope motifs on the mahogany table (2324 TVL) were
changed from wood to brass, in order to give the piece a more precious
appearance.
Similarly, on the perfume columns (2326 CL) in the reception salons,
the black lacquer that gave the piece a heavy aspect was replaced with
a more luminous ivory lacquer.
The circular birch and ebony table (2336 TA), carved and gilded,
received brass decorations which were almost certainly present in
the original.
The late eighteenth century étagère made with carved and gilded
Karelia birch, equipped with mirrors and initially made for china
collectors, of which there were many among the tsars and the Russian
lords of the time, was slightly retouched in the new version (2338 LB)
by changing the size of its base. This simple amendment, a soft and
refined touch in the style of Maurizio Chiari, gives the perfect balance
to this extraordinary, precious piece of furniture.
And, finally, a functional alteration: the carved poplar cabinet
(2340 VT), with bronze and glass elements designed for displaying
porcelain collections, was made deeper, while its sliding panel was
replaced by a regular door. The added brass elements, which were
probably present in the original version, gives the cabinet a stronger
appearance and highlights its value.
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