Null EDRA, Fernando and Humberto CAMPANA, Scrigno sideboard
Internal structure …

Description

EDRA, Fernando and Humberto CAMPANA, Scrigno sideboard Internal structure in lacquered wood and the exterior in mirror chip mosaic Silver 3020 color H: 115 cm, W: 135 cm, D: 47 cm

587

EDRA, Fernando and Humberto CAMPANA, Scrigno sideboard Internal structure in lacquered wood and the exterior in mirror chip mosaic Silver 3020 color H: 115 cm, W: 135 cm, D: 47 cm

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Starting price 300 EUR

FERNANDO AND HUMBERTO CAMPANA Chair, "Jenette" model, green polyurethane structure and metal inner frame, straight PVC rod back. Edra publisher's mark on reverse of seat. (Wear, scratches). Height 95 cm - Width 41 cm - Depth 46 cm

Design - Flower sideboard - design by Groult, André (Paris 1884-1966 Nogent-sur-Marne), interior designer and craftsman, he is also described as a leading designer of Art Deco, in 1925 Groult exhibited a sideboard covered with fish leather at the Exposition internationale des Arts Décoratifs et industriels modernes in Paris, The piece of furniture in pink and gray for a ladies' room made of beech, mahogany and ivory is now owned by the Musée des Arts décoratifs in Paris, Groult often draws on traditional forms for his innovative furniture designs, but combines them with modern functional elements, wood, lacquered in black and cream, the frame made of bent square wood on short, skid-like feet, three rectangular and one round shelf, offset in height, each mounted with cylindrical wood screws, the bent timbers of the frame already hint at later tubular steel constructions, such as those of Marcel Breuer's cantilever chairs, the color-contrasting knobs of the wooden screws correspond to a functionalist view of decorative design elements, later paintwork, some paint abrasion, stress cracks, approx. 95x85x25cm

Estim. 700 - 3 200 EUR

SPANISH CABINET, 19TH CENTURY.

Estim. 40 000 - 45 000 EUR

Desk on bridge foot buffet; Mexico, second half of the eighteenth century and later. Polychrome pine wood with embossed silver plates. It has a crest with the coat of arms of Francisco Antonio de Lorenzana y Butron. It has restorations and reforms. Measurements: 102 x 102 x 41 cm; 90,5 x 116 x 54,5 cm. Desk on buffet of Mexican origin with a prismatic and robust structure. The piece is composed of two parts; buffet with bridge foot and the upper desk. Both are made of polychrome pine wood and adorned with embossed silver appliqués that present vegetal motifs and religious scenes. The lower area is supported by two longitudinal feet on which are placed three columns, each of them of Doric order, with ebonized capital and base. The feet, located on the sides, are joined by a central structure architecturally conceived, simulating a corridor with semicircular arches. The legs give way to a top of angular profiles with the outer perimeter adorned with embossed silver applique. The desk is organized symmetrically, in three rows and three registers. The drawers are unified in the form of small drawers that have an identical design, varying only in size and arrangement. On the front, the central zone and the lower sides have silver appliqués of greater technical complexity. As a canopy the artist frames different scenes of religious character; the education of the Virgin and the nuptials of the Virgin in the lower zone and in the center the Annunciation. While the sides of the desk have large ornaments that welcome the flight to Egypt on one side and the other the birth in the manger of Christ. Finally, the piece of furniture is topped by a balustrade with a central crest and figures in round silver bulge dominating the corners. It is interesting to note the copete, since a coat of arms can be seen, indicating that the owner of the piece was Francisco Antonio de Lorenzana y Butrón (León, 1722-Rome, 1804), Archbishop of Mexico, Cardinal-Archbishop Primate of Spain, Inquisitor General. Silver was one of the main sources of export in Spanish America. First as a raw material in itself for its high economic value and later and with greater interest for its work in goldsmithing. Viceroyal silverware would reach very high levels of fineness and quality worthy of European works. The western tradition was joined by the cultural roots and inheritance of the places of work where the artisans displayed great talent both in the execution of the works and in the creation of especially novel and original models and decorations. It has a crest with the coat of arms of Francisco Antonio de Lorenzana y Butrón. It has faults, restorations and reforms.

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