1 / 8

Description

Renaissance balcony bench, Catalonia or Aragon. Spain, ca. 1600 Walnut and boxwood. Bone inlay. Brass applications. Renaissance inlay decoration. It shows marks of use and wear. Leather handle with damage. Measurements: 130 x 140 x 60 cm. This Catalan-Aragonese bench-arch, dated around 1600, is decorated with a meticulous work of geometric marquetry, consisting of inlaying small plates of bone and other wood forming geometric motifs. This decoration has its roots in the Granada inlay, a block inlay of geometric motifs with Islamic roots. These inlays combine mainly bone and various woods, since these were the main materials for Hispano-Muslim furniture. Block inlay has its origins in Islamic Spain, and its technique consists of making a block by combining various woods to form a specific design, and then cutting sections that are inlaid into the furniture. In this way, mosaic plates or strips are obtained, like the ones we see here. Formally it is an ark raised on four claw feet, on which a wide skirt rests. Its front and sides are decorated with recessed square panels, alternating with molded surfaces with an architectural appearance. The chest remains closed, so it acts as a seat, and has a back with the same characteristics as the rest of the piece, culminating in a crest with a heraldic motif with the surname "Del Bosque". The chest was the most important container in Catalan houses since the 15th century. It was brought by the bride to the marriage, in fact, it was the patrimony that the bride's family gave to the groom. This was part of an exchange of wealth between the contracting families. Its ornamentation was a testimony of the social and economic level to which the new bride belonged.

99 
Go to lot
<
>

Renaissance balcony bench, Catalonia or Aragon. Spain, ca. 1600 Walnut and boxwood. Bone inlay. Brass applications. Renaissance inlay decoration. It shows marks of use and wear. Leather handle with damage. Measurements: 130 x 140 x 60 cm. This Catalan-Aragonese bench-arch, dated around 1600, is decorated with a meticulous work of geometric marquetry, consisting of inlaying small plates of bone and other wood forming geometric motifs. This decoration has its roots in the Granada inlay, a block inlay of geometric motifs with Islamic roots. These inlays combine mainly bone and various woods, since these were the main materials for Hispano-Muslim furniture. Block inlay has its origins in Islamic Spain, and its technique consists of making a block by combining various woods to form a specific design, and then cutting sections that are inlaid into the furniture. In this way, mosaic plates or strips are obtained, like the ones we see here. Formally it is an ark raised on four claw feet, on which a wide skirt rests. Its front and sides are decorated with recessed square panels, alternating with molded surfaces with an architectural appearance. The chest remains closed, so it acts as a seat, and has a back with the same characteristics as the rest of the piece, culminating in a crest with a heraldic motif with the surname "Del Bosque". The chest was the most important container in Catalan houses since the 15th century. It was brought by the bride to the marriage, in fact, it was the patrimony that the bride's family gave to the groom. This was part of an exchange of wealth between the contracting families. Its ornamentation was a testimony of the social and economic level to which the new bride belonged.

Estimate 3 000 - 4 000 EUR
Starting price 1 200 EUR

* Not including buyer’s premium.
Please read the conditions of sale for more information.

Sale fees: 24 %
Leave bid
Register

For sale on Wednesday 24 Jul : 12:15 (CEST)
, pays.null
Setdart.com
+34932463241
Browse the catalogue Sales terms Sale info

Delivery to
Change delivery address
Delivery is not mandatory.
You may use the carrier of your choice.
The indicated price does not include the price of the lot or the auction house's fees.

You may also like

Valencian school; ca. 1500. "Virgin with child and singing angels". Tempera and gilding on panel. With period sgraffito and stephos. Presents old restorations. Presents deterioration. It needs restoration. Measurements: 119 x 119 cm. Scene of religious character in which the virgin appears with the child in a central plane. She is dressed with a blue mantle and red tunic and still preserves the image of virgin-throne of the most classicist renaissance, being a whole block with hieratic character. The scene stands out for its sobriety, with four singing angels arranged on the sides of the figure on a background of reddish tones. The Spanish school is different from the rest of contemporary European artistic centers, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, these centuries, meant an important focus within Spanish art, with schools such as Andalusian, Madrid and Valencia. In Spain, the change from the seventeenth to the eighteenth century was not a break with the previous tradition, but a continuation of it. On the other hand, economic recovery resulted in a thriving industrial and commercial bourgeoisie, which sought to distinguish itself socially through artistic patronage. At the same time, the Church was losing its monopoly as the only client of artists. All this will determine a definitive change in taste, and also in the genres treated: religious painting will now coexist with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting.

Spanish school; XV century. "Angels". Marble. Presents faults and restorations. Measurements: 35 x 97 x 10 cm. Gothic carving made in marble representing a procession of angels, all of them arranged as a frieze. Both the material and the dimensions indicate that originally this piece was part of a larger ornamentation, probably an architectural site dedicated to devotion, so iconographically it was probably part of a sculptural cycle. The piece that stands out for its quality presents us with five angels, two of them, located on each side, in profile before the spectator while the others have been carved with a strict frontality. The piece stands out for its symmetry and hieratism, typical of the aesthetics of the period. In any case, the naturalistic and expressive style of the carving allows us to attribute it to the Castilian school of the 15th century, a time when the influences of the last international Gothic and the new Flemish realism penetrated with force in the Hispanic territory, leading art towards a new aesthetic where expression and naturalism, the imitation of physical reality, are increasingly important values. During the 15th century, the realistic style of the Netherlands had a great influence abroad, especially in Spain, but in the 16th century the panorama was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the center of the Flemish school, displacing Bruges and functioning as a center of penetration of Italian influences. In this way, Mannerist influences arrived in the Netherlands and Spain, superimposed on the style of the 15th century. It presents faults and restorations.