Signed several times W. HEJDA WIEN, and dated 1924. A pagoda-shaped softwood vitrine, veneered in Makoré wood, the legs with bronze applications, with 1 drawer, 4 doors with symmetrical mother of pearl decoration in the form of seahorses, with a central glazed door with cut glass and engraved signature W. HEJDA and date 1924. The fitted interior in polychrome with exotic scenes of elephants and fauna- back panel to open with push – button and disclosing in this way a secret compartment with pear furnished writing device , the upper edge with a pierced ivory border with figural scenes and insects such as butterflies; the pagoda roof is carved with dragons and mythical creatures in the round and painted gold, the sides with applied carved decoration, also painted gold, the lateral niches are decorated with chess board pattern marquetry in ebony and ivory. Ca. 185 x 146 x 55 cm. Various small veneer losses as well loosely enclosed wooden pieces, some traces of ageing and wear. (DOC)

The opening up of Japan in 1854 and the presentation of Japanese objects at the World Fairs in the 19th century in London, Paris and Vienna, sparked a great enthusiasm for all things Japanese, which had a lasting influence on the fine and decorative arts. The fact that a considerable amount of Japanese objects were already being collected by the second half of the 19th century, can be seen as the result of the Japan boom of the time. With its World Fairs in 1867, 1878, 1889 and 1900 Paris took on a pioneering role in the production of furniture and objects in the "gout japonais". After almost 250 years of isolation, which came to an end with the Meiji Restauration in 1868, Japan saw its chance to make its mark on the world stage with the Viennese World Fair. With considerable planning and great effort they prepared and erected a specially constructed Japanese village for the fair.

The Japanese exhibits were well received. Numerous pieces were sold and Japan won several prizes. The immense enthusiasm on the part of the Viennese critics and public resulted, amongst other things, in Japonism also entering the German-speaking world. Above all, the World Fair was an important factor that contributed to a lively cultural and commercial exchange between Japan and Austria. Josef Hoffmann and Gustav Klimt are considered the pioneers of Japonism, and the latter in particular in his choice of colours was greatly inspired by the textile designs (of kimonos etc).