Two-leaf door with castanet frame. Pine wood. Spain, 17th century. Double-leaf door made of pine wood decorated with rectangular panels arranged in rows and a castanet-type frame (named after the elements that decorate it). Although panels were a common element in the Renaissance, they continued to be used in this period and long after.
Monk's armchair. Walnut wood, leather. Spain, 16th century. Armchair with arms and high backrest of the type known as “friar's chair”, which has leather with studs on the seat and upper part of the backrest, very low chambranes joining the front legs with the back ones and middle chambranes or side rails (the front one carved with a relief of floral motifs flanking an empty heraldic shield in the round) joining the two front legs and the two back ones, and simple armrests, with the fluted fronts following architectural influences. 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 this and the 17th century 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. Requires restoration.
Pair of wall lights. Bronze, glass. Empire style, France, circa 1900. Both are practically identical, each wall lamp has three points of light and a decoration and lines that respond to the classicist influence of the style to which they belong. Note the palms, the scrolls, the smooth mouldings, etc. These types of lighting elements were common in prominent interiors.
Rustic chest. Carved wood, wrought iron. 18th century. Rectangular chest with a flat lid that has a small drawer at the bottom on the outside; the fittings, handles, corners and latch are made of wrought iron; at the bottom it has mouldings cut into curved shapes. Inside it has a rectangular space closed with a lid with ringed fittings on one side. This type of piece was used to store objects of a certain value, and similar typologies to the present one can be seen since the Spanish Gothic period.
Mirror with a gilded wood crest. 20th century. Rectangular mirror with a decoration based on carved plant elements and a lattice motif under a plant shape. The curves drawn by the leaves show the influence of Rococo models in the creation of this work, the movement being greatly softened thanks to the straight lines of the frame. These rocailles are also located in this kind of latticework.
Three volumes, God and his works (…). Barcelona, J. Verdaguer, 1843 and 1841. Set of three bound volumes matching (with title and numbers 1, 2 and 4 on the spine) the books: -God and his works. Album of 230 very fine open steel plates. Complement to those accompanying the Picturesque Dictionary of Natural History. (…) Barcelona, J. Verdaguer Printing House, 1843. -Album of quadrupeds. Collection of 148 open steel plates for the illustration of the Picturesque Dictionary of Natural History. Barcelona, J. Verdaguer Printing House, 1841. -God and his works. Bird album. Collection of 188 open steel plates for the illustration of the Picturesque Dictionary of Natural History. Barcelona, J. Verdaguer Printing House, 1841.
Pair of frames. Wood, stucco. 19th century. Pair of rectangular frames made of carved and gilded wood decorated with a series of mouldings of different widths, some smooth and flat, others smooth and curved and two decorated with elements of classicist influence in light relief.
Three-part silver spice rack. 19th century. Spice rack made up of three bodies with lowered edges so that they fit together and join together in a semi-oval with a chamfer at the top, decorated with simple lines, as befits a 19th century work influenced by Neoclassicism. This type of spice rack is reminiscent in concept of the so-called “tower” examples, made in the Renaissance, but much more simplified. Weight: 150 grams.
Alembic. Iron and copper trivet. 19th century. A still with a globular body with four handles made of another metal and an elongated neck, which has a lid and a pipe to expel the condensed liquid after distillation.
Knight. Oil on canvas. Dedicated, signed (F. Lloret.) and dated (1897) in the lower left corner. The bust of the gentleman is placed against an indeterminate background, his face slightly turned to the right. In the lower left corner, the dedication appears (“To Porfirio / his friend”), the painter’s signature and the date of the work’s completion (“F/97”). As in the rest of Europe, the portrait was a genre that enjoyed great popularity in 19th century Spain, mainly thanks to social changes (rise of the upper bourgeoisie, etc.) that influenced aesthetics, hence the degree of intimacy that the painting gives off, different from the “official portraits” preferred by the nobility.
Lady. Oil on canvas. Signed (F. Lloret.) and dated (February 97) in the lower right corner. Against an indeterminate background, there is the bust of a lady, her head slightly turned to the left. In the lower right corner, the painter's signature and the date of the work's execution can be seen (February 97, 1897). As in the rest of Europe, the portrait was a genre that enjoyed great popularity in 19th century Spain, mainly thanks to social changes (rise of the upper bourgeoisie, etc.) that influenced aesthetics, hence the degree of intimacy that the painting gives off, different from the "official portraits" preferred by the nobility.
Octagonal side table. Rosewood wood. France, 19th century. Side table with a straight octagonal top, made of rosewood combined with another of a different tone to enhance the first. The four legs, turned with lines, are joined with a flat rhomboidal frame. The decoration has been reduced to enhance the quality of the the wood and the clean lines of the furniture, which is why there are no gilded bronze applications, which are common in French furniture.
Blacksmith's bellows. Pine wood, wrought iron, leather. 18th century. Bellows made of carved pine wood and reinforced wrought iron and completed with leather and studs.
English style display cabinet. Mahogany veneered wood, bronze, glass. 20th century. Display cabinet over chest of drawers or display cabinet with lower body of drawers clearly influenced by English Victorian models. The upper part has a double door, glazing on three fronts (with the front area quartered) and a moulding finish with a carved central crest, as well as raised corners in the form of smooth pilasters. In the lower area this raised part is repeated with architectural elements, visually prolonging the piece of furniture, and the drawers (a total of four) are left on the front, with circular knobs. It has faults.
GÓMEZ GIMENO, Antonio (Spain, late 19th – early 20th century). "Still life". Oil on canvas. Signed in the lower left corner. Measurements: 38 x 45.5 cm; 47 x 55.5 cm (frame). Painter of landscapes, costumbrist scenes and still lifes, Antonio Gómez Gimeno developed a language clearly influenced by the Impressionists, which he may have learned during a stay in France. He is currently represented in various private collections.
12-arm bronze chandelier. 19th century Adapted for electrical use, the twelve arms are joined above a sphere, which is fixed to the ceiling by a fixed turned arm with another sphere in the middle of it. The earliest examples of this element date back to the Middle Ages, taken for civil use from their use in churches, and their design began to develop from the 15th century. Made of glass, transparent or coloured, bronze or a combination of both, they were always lamps intended for important residences, both because of their size and the consumption of candles they required.
Pair of Dutch style candlesticks. 18th century Bronze. Electrified as lamps. Pair of Dutch style candlesticks converted into lamp bases. They have a turned structure, typical of refined baroque.
Cutlery set. Porto, Portugal, 19th-20th centuries. Silver. With hallmarks and engraving marks. Silver cutlery set consisting of six spoons and six forks, each decorated on the handle with a different composition for each type of cutlery. The spoons have scrolls and plant elements, topped with scallops, reminiscent of Rococo; the forks have a composition with a neoclassical influence. Weight: 900 g.
Cameo with gold mount (9 kts); brooch. Victorian period, ca. 1860. Cameo with an openwork die-cut mount in 9 kt gold, decorated with a symmetrical composition of contrasting “Cs”, simplified volutes and scallop-shaped forms at the equator of the piece (on both sides). The cameo itself, made in Cassius Cypraea (and therefore of the type known in the 19th century as “coralino”), presents a scene from classical mythology: on the left is Aurora, accompanied by a winged child with a torch (Phosphor, the morning star) and preceding the chariot of the Sun with four horses, which is surrounded by the Hours and driven by Apollo. Note the compositional and iconographic similarity between the scene and the fresco painted by Guido Reni between 1613 and 1614 at the Casino dell'Aurora Pallavicini (Rome, Italy), entitled “L'Aurora”, which was also often used as inspiration for works on different supports throughout the 19th century. Weight: 20.29 gr.
Mirror with a gilded wood crest. 20th century. Rectangular mirror with a decoration based on carved plant elements and a lattice motif under a plant shape. The curves drawn by the leaves show the influence of Rococo models in the creation of this work, the movement being greatly softened thanks to the straight lines of the frame. These rocailles are also located in this kind of latticework.
Dining table. Tropical wood. Inspired by classic models. Dining table with a rectangular top that juts out slightly from the waist (with a carved decoration of geometric elements) and rests on four cabriole legs, carved at the knees with plant motifs of classical influence, a decoration that can also be seen in a more simplified form at the bottom of the legs.
Pair of door knockers. Wrought iron. 16th century. Pair of door knockers made of wrought iron and composed of two nails with a ring to fix to the wood and a shape similar to a horseshoe attached to them. The latter, flat, is decorated with geometric engravings of lines and circles along its surface. Compare with pieces such as the 16th century Gothic knocker from the Lázaro Galdiano Museum (Madrid), Catalan pieces, etc.
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