Eugenio Quarti, Antique Salon Suite, Late 19th Century

Following several years of training in Paris and a brief apprenticeship in Carlo Bugatti’s Milan workshop in 1888, Eugenio Quarti (1867–1929) established his own cabinetmaking atelier in Milan while still in his early twenties. Although his earliest works, exhibited at the Antwerp International Exhibition and at the Milan Exhibition of 1894, clearly reflected Bugatti’s influence, Quarti soon developed an unmistakably personal style. His designs became increasingly refined, characterized by elegant, slender lines and delicate inlay work executed with precious materials.

At the 1900 Exposition Universelle in Paris, the salon suite presented by Quarti was awarded the Grand Prix, the exhibition’s highest distinction. As noted by Irene de Guttry:

“The English and Japanese commissioners—the two most knowledgeable jurors in the field of decorative arts—championed his work, praising both the cabinetmaker’s outstanding craftsmanship and the exquisite refinement of his marquetry.”

This prestigious award established Quarti’s international reputation. Two years later, at the Turin International Exhibition, his display room was listed for the highest award but declared hors concours in recognition of the Grand Prix already received in Paris, further confirming his superiority over his contemporaries. Historical photographs surviving from the Paris exhibition clearly identify the same chair, display cabinet and writing desk, while an original photograph of the desk top has also been preserved. Quarti was among the first designers to conceive complete interior environments, creating harmonious ensembles in which every furnishing was integrated with the architectural decoration, wall finishes, carpets and decorative arts through close collaboration with other craftsmen. This innovative approach led to numerous prestigious commissions following later exhibitions, including the 1906 Milan International Exhibition (Esposizione Internazionale del Sempione). Among his most celebrated projects were the interiors of the Casino at San Pellegrino Terme and the iconic Camparino Bar in Milan’s Galleria Vittorio Emanuele II. During the 1920s, Quarti was joined by his son Mario, who assumed the direction of the family workshop following his father’s death. The present suite represents one of several variations developed from the prototype exhibited in Paris, where the original pieces remained unchanged. Among the known variants, both the sofa and the wall mirror are considered particularly remarkable for their elegance and artistic quality. Although the upholstery has undoubtedly been replaced over time, the furniture itself has been preserved in outstanding condition. Works by Eugenio Quarti are held in numerous public collections. Among the most important is the Museum of Decorative Arts at Milan’s Castello Sforzesco, which houses an extensive group of Quarti’s furniture, including a chair identical to the present example. The Musée d’Orsay in Paris also preserves a writing desk and chair dating from 1898, works that already reveal the emergence of Quarti’s distinctive artistic language.

A closely related version of this salon suite, with several variations, is preserved in the Fondazione Chiara e Francesco Carraro.

Several pieces from the present suite—including the writing desk, chair, wall mirror and display cabinet—were exhibited in the Art Nouveau exhibition “Liberty. L’arte dell’Italia moderna”, curated by Manuel Carrera, Davide Dotti and Anna Villari, held at Palazzo Martinengo, Brescia, from 24 January to 14 June 2026.