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Wed 24 Jul

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.

Estim. 40 000 - 45 000 EUR

Wed 24 Jul

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.

Estim. 3 000 - 4 000 EUR

Wed 24 Jul

William & Mary commode. England, ca. 1680. Oak and walnut. Metal handles. With marks of use. Measurements: 100 x 110 x 55 cm. English chest of drawers made of mahogany wood, which stands on legs with cut-out sections and consists of five drawers, the last two of which are joined together in a single register. The design, sober and elegant in the William & Mary period style, has as its only decorative element a geometric pattern housed in the drawers and imprints an attractive moulded pattern based on rhombuses and edges on the front. The William and Mary style is a furniture design common from 1700 to 1725 in the Netherlands, England, Scotland and later in England's American colonies. It was a transitional style between Mannerist furniture and Queen Anne furniture. A sturdy piece of furniture whose design emphasised both straight lines and curves, with elaborate carvings and wood turning, the style was one of the first to imitate elements of Asian design such as Japanese. In 1688, James II of England was deposed by his daughter, Mary, and her husband, William of Orange, in what became known as the "Glorious Revolution". William and Mary brought a taste for Dutch furniture styles to their kingdoms, as did several of the Dutch furniture makers. Although the movement towards what would become known as the William and Mary style had begun during the reign of Charles II of England, mainly due to the influence of his Portuguese-born queen, Catherine of Braganza, the style became widely defined and accepted during the reign of William and Mary.

Estim. 2 000 - 3 000 EUR
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