Display case. Mahogany wood. 19th century. Tall display cabinet made of mahogany wood decorated with a series of smooth mouldings highlighting the grain of the wood, which has a door at the front with a transparent glass sheet and a key lock, shelves inside highlighted with two fine lines in light wood and a drawer in the lower area.
Mirror with reliefs. Modelled alabaster. 20th century, based on the model of MANTEGNA, Andrea (ca. 1431-1506). Mirror with a frame made of polychrome modelled alabaster, showing a finial composed of classicist elements and two figurative motifs on the sides, a young man on one side and a lady on the other, with a background of decoration inspired by the Renaissance. Aesthetically, and with regard to the young man and the lady, it is inspired by a fresco by Andrea Mantegna, located in the Ducal Palace of Mantua (Italy), painted between 1465 and 1474. Weight: 40 kg.
Side table or “guéridon”. Mahogany, gilt bronze, onyx (possibly from Algeria). France, towards the end of the 19th century. Octagonal mahogany side table with a top made of light-coloured onyx or onyx. It has four legs joined at the bottom with a curved frame, which are joined in a central piece topped by a small vase-shaped piece. At the waist, gilded bronze applications of a classicist influence can be seen between the cubes that finish off the legs, which are decorated with bronze applications. Between each two legs there is a wooden pendant. There are known examples preserved in private collections of French furniture with onyx tops, of similar colours to this one, from Algeria. Stylistically, the table shows a strong French and neoclassical influence, with elements (the pendants) considered to have an orientalist touch.
Sideboard with mirror. Walnut wood, marble, metal, glass. France, 19th century. A sideboard with two drawers and two doors at the front, with legs joined by a panelled top, decorated with simple carvings enhanced by scrolls, mouldings and plant elements, details also present in the mirror frame. Some elements (rocalycium, undulations in the lines of the furniture) are reminiscent of examples of 18th-century Rococo, while others are more closely linked to 19th-century Neoclassicism. This mixture of styles was common in high-quality 19th-century European furniture.
Monk's armchair. Walnut wood, textile. Spain, 17th century. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out profile jambs joining the front and back legs and middle jambs or smooth crossbars joining the two front and two back legs, and simple armrests (curved, ending in scrolls). The frailero armchair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.
Monk's armchair. Walnut wood, textile, metal. Spain, 16th century. It has defects. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out low-profile chambranes joining the front and back legs and middle chambranes or side rails (the front with carved geometric motifs) joining the two front and two back legs, and simple armrests (curved, ending in scrolls; the front with fluting). The friar's chair, initially of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.
“Serviteur muet” side table. 20th century, following 19th century models. Mahogany wood, marquetry, bronze. Circular side table with three legs emerging from a single stem decorated with geometric marquetry elements on the wood and an openwork rail marking the upper board and the smaller board emerging from it. The piece of furniture is clearly inspired by 19th century French examples, both in its design and in the materials and delicacy of its execution.
Lamp. Bronze, glass. Early 20th century. Ceiling lamp consisting of an axis from which arms emerge ending in coloured glass lampshades resembling flowers and other decorative elements clearly reminiscent of neoclassicism, finished at the end with a partially openwork shape. This type of element was common in important houses, more common in the private areas of the owners than in the rooms used for more official celebrations and receptions.
Standing dressing table mirror in carved mahogany, 19th century. The rectangular mirror frame is decorated with scrolls and carved floral and plant motifs in the classical tradition, and rests on two curved legs with lines reminiscent of the characteristic movement of the Baroque and Rococo periods. This mixture of styles was common in 19th century furniture, as shapes from past traditions were chosen for the creations of the period.
Sofa divan. Mahogany wood, upholstered. 19th century. Mahogany divan with upholstered seat, curved “ess” or half-lyre-shaped arms and flat cabriole legs ending in a scroll. Although the lines are reminiscent of French Empire style pieces and other pieces from the first half of this century, certain similarities can also be found with Spanish Elizabethan divans from the 19th century.
Chest. Walnut wood, wrought iron. 17th century. Rectangular chest with a flat lid made of hand-carved walnut wood and reinforced by a series of metal fittings, which has an openwork lock shield decorated with architectural motifs, which show Baroque influence. This type of furniture was very common in Spain, frequently used to store objects of a certain value such as clothes, dishes, etc.
Trunk. Wood, leather, iron. Spanish School, around 1700. Wooden trunk with a curved lid and rectangular shape, covered with leather on the outside, with fittings, handles, studs and two closures at the front, which has a front and top opening. Inside it has a lower space accessible from the front divided in two by a vertical piece of wood; the lid and part of the chest have a textile covering. The back does not have leather. The nails with circular heads are arranged in geometric shapes. The handles have disc decorations. The fittings, also worked, follow models based on architectural designs, motifs also present in the lock shields on the front. Some of the metal elements still have traces of gilding. These types of trunks were known as “travel trunks” because they were normally used to store objects on journeys, hence the leather covering and the apparent lack of decoration on the outside. Having two locks was for greater security, since the two keys had to be used together to open it and these were usually entrusted to two different people. Compare this with the 17th century travel trunk from the Viceroyalty of Peru in the Museum of America (Madrid), which has decoration with animals and plant motifs (embossed leather). Or with the Chest of the Mayorazgo de la Cerda (17th century) in the National Museum of Decorative Arts (Madrid).
Louis XV style bed in rosewood, early 20th century. The headboard and footboard have rocaille decoration on the upper part, as well as curved lines and carved legs and frisage decoration on the fronts. The side rails also show curved lines, as well as a carved element in common with the rest of the parts of the bed. the bed based on rocailles. All these decorative elements belong to the Louis XVI style, used in France in the 18th century and which corresponds to the Rococo.
“Architect’s desk” table in mahogany, France, 19th century. The table stands on four Solomonic legs with a central knot. It has two drawers in the base, boards on the sides and a slanted top. Inside, a large empty space is located under nine compartments. This particular type of desk is characterized by its slanted top board to facilitate the drawing of plans, hence the name by which they are known. The space inside is shaped like this to store various rulers and utensils of different sizes typical of the profession. Requires restoration.
Desk table. Carved wood. 19th century. Table with a straight rectangular top raised on four vase-shaped legs with mouldings and two drawers on one front. The mixture of elements that can be linked to Neoclassicism (simplicity, mouldings) and others that seem more like 17th century Baroque (movement in the lines of the legs) is common in 19th century furniture, which likes to draw inspiration from earlier styles.
Desk furniture. Carved tropical wood, wood, mirror, metal, glass. 19th century. Tall carved wooden cabinet with nine drawers at the front (with metal handles) and a compartment on the top with a lockable lock that contains the desk part; the upper area has two shelves with glass doors on the sides, flanking a rectangular mirror with architectural finishes of classicist influence. The lack of bronze appliqués, the classicist influence and the clean lines are reminiscent of provincial pieces, far removed from the main architectural trends but influenced by them.
Cupboard. Carved and polychrome wood, metal. 20th century. Carved wooden cupboard with two doors with latticework at the top (inside there are two shelves creating three spaces) and two doors at the bottom (giving access to a space with a shelf), with a polychrome finish in green, yellow, etc. tones. Both the lines of the furniture and its finish are reminiscent of works from the old Spanish school.
Lamp. Bronze. 19th century. Lamp with a circular vase decorated with a series of classicist decorative mouldings at the bottom and an oval shape from which a ring hangs, and another moulding at the top joining three winged angel heads. From the back of these emerge three chains of polygonal links that go to a piece through a decoration of palms and scrolls, which ends in a ring to go to the ceiling. Also sometimes known as votive lamps due to their frequent presence in churches, these types of lamps were outstanding pieces. Compare, for example, the one in San Antonio de la Florida (Madrid) by Domingo Urquiza dated 1799.
Musicians, relief. Molded alabaster. 20th century Framed relief made of molded alabaster with polychromy inspired by Renaissance works from the Spanish school and, more recently, by a work by Enrique Orejudo Alonso for the Upper Chapel of the Church of the Holy Trinity in Torre-Ciudad, Huesca, Spain. Weight: 37 kg.
Wall mirror. Modeled alabaster. 20th century, following Renaissance models. The rectangular mirror with a semicircular curve at the top has been highlighted along these same lines with a frame finished in marble powder. The decorative elements chosen are inspired by works of the Renaissance: scrolls, metopes, scallops, pilaster strips, straight lines, etc.
Office desk and chairs set. Walnut wood. Circa 1900. Requires restoration. Furniture set consisting of an office desk with armchair and high back, four high back chairs without arms and footrest, made of carved walnut wood. The desk, with five drawers on one of its fronts, displays a series of plant and architectural carvings reminiscent of the Neo-Renaissance. This same influence can be seen in the carvings on the armchair, which also features animal protomes on the arms and studded leather upholstery. The chairs in this set, again, follow the same style, and have upholstery on the back and seat with gold studs. The footrest has a somewhat simpler decoration.
Winged table with turned legs. Walnut wood. Spanish school, 18th century. A folding round table with two wings that can be folded down and supported by two legs joined together for each wing by means of lower jambs. When the table is folded, there is a drawer with a wooden knob on each side and two legs on each side, joined in a rectangle by means of a jamb. The legs and vertical elements of the piece of furniture have turned balustrade elements and discs, as is usual in the Spanish school since the Baroque.
Console. Carved and ebonized wood. France, 19th century. Ebonized carved wood console decorated with architectural elements and engraved symmetrical plant motifs with a marked classicist influence. The ovals, pilasters, fluted bands and moldings complement floral motifs common in 19th century furniture. Ebonized wood was common, slightly reducing the cost of certain examples.
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