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ADORATION OF THE SHEPHERDS. POLYCHROMED WOOD. COLONIAL SCHOOL (POSSIBL...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. It has faults. Fragment of a carved, polychrome, and gilded wooden altarpiece depicting a figurative scene within a rectangular space crowned by a semicircular arch. In the upper section, angels emerge from clouds holding a scroll on which some of the original text is still visible; below, a red roof partially covers vertical structures with a classical influence. In the lower section, four shepherds are depicted with a donkey and an ox. The Christ Child is positioned in the center (note that the halo resembles a cradle, or vice versa), with the Virgin Mary and Saint John at his side, their hands clasped in prayer. Iconographically, it is clear that this is the Adoration of the Shepherds. In sculpture, the school of the Viceroyalty of Peru is considered to have emerged with the establishment of the viceroyalty in 1542 (and to have disappeared in the 19th century). As was typical, in its early stages it owed much to the influence of Spanish art (especially the Sevillian school), eventually acquiring a strong identity of its own thanks to the work of indigenous masters, religious orders, and others. The main artistic centers were often Lima (the viceroyalty's capital), Quito, and Cusco (from the second half of the 17th century onward, this area would become known primarily for its dressed religious images).

· Size: 63x7x140 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1483
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DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Walnut wood dining table with Solomon's leg, 20th century. Dining table with a two-piece headboard on legs with Solomonic turning and a chambranle attached to it with curved wrought iron braces, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

Ref.: Z5591
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SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre-shaped legs and iron braces, 18th century. The two lyre-shaped legs supporting the piece feature undulating lines at the bottom and shapes on the sides reminiscent of French cabriolet guitars. They are joined by an iron brace and support a single-piece tabletop with carved edges. This type of leg, called lyre-shaped because of its resemblance to the musical instrument, was widely used in the Renaissance, and its use continued later due to the movement that its curved profiles brought to the furniture.

· Size: 73x103x220 cms.
ANTIQUES
FURNITURE

Ref.: Z6146
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. Quartered shield with seven Moorish heads facing the centre, adorned on the border and a bird on the crest. The first quarter is checkered or chequered with chains in orders of three and five; the second quarter is quartered with towers and chevrons with a pendant; the third quarter is a saltire bordered with seven saltires of Saint Andrew; the fourth quarter is with three horizontal bands. It is crowned by a feathered knight's helmet facing left, and is flanked by a composition of grotesques with busts, volutes and architectural elements on the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to models common in the 17th century, maintaining a marked classicism. Compare, for example, with the one in the Casa de Begoña de Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0793
NURSING VIRGIN MARY. OIL ON BOARD. HISPANO-FLEMISH SCHOOL, 16TH CENTUR...

Virgin of the Milk. Oil on panel. Hispano-Flemish School, 16th century. It has faults and restorations. Panel depicting the Virgin wearing a tunic and cloak, her hair partially covered, three-quarter length, with curtains in the background, breastfeeding the Child Jesus. Their heads are highlighted with a fine halo, and in the foreground is a small platform with a book, some cherries, and a vase of flowers (lilies and roses, possibly alluding to Mary's purity and virginity). This iconography originated in Byzantium (where it was known as Galactotrofusa) and enjoyed popularity in Europe until the Council of Trent (Italy, 1545-1563), when it appears to have ceased to appear as frequently in some parts of the continent due to issues of modesty. Engravings by Dürer and many other works with a composition similar to this panel have survived. Stylistically, the influence of the Flemish school and Spanish touches on his painting is clear, placing it within the Hispano-Flemish school. There is evidence of a series of panels in private collections linked to followers of Joos Van Cleve (also known as Joos van der Beke; c. 1485–1490 – 1540/1541; active in Antwerp) that are very similar in composition to the present one, which would indicate inspiration from one or more shared works. Compare, noting the differences, with van Cleve's panel of the Holy Family held by the Metropolitan Museum in New York (inventory 32.100.57), which dates back to around 1512. It is also worth remembering the one held in the Museum of Fine Arts in A Coruña (Spain), which dates from the 16th century.

· Size: 60x5x73 cms. int. 50x64 cms
ANTIQUES
PAINTINGS

Ref.: ZF1395
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CARRIAGE, “JARDINERA” TYPE.

Garden-type carriage. An open, four-wheeled carriage with leaf springs and a raised driver's seat, whose baluster body allows for several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5023
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0565
MARQUETRY AND BRONZE SHOWCASE. FRENCH SCHOOL, 19TH CENTURY.

Louis XVI style display case. Wood, gilt bronze, etc. French School, 19th century. A wooden display case decorated with marquetry plaques with figurative motifs in the lower area and gilt bronze appliqués. It has three glass fronts that reveal the interior. It is upholstered in red textile and has two glass shelves. These marquetry scenes depict figures in landscapes, reminiscent of oriental works. The bronze appliqués and the "bombé" shape of the lower area demonstrate Rococo influences. The Louis XVI style is considered, in France, a movement within Neoclassicism and spans from around 1760 to around 1789 (although works inspired by it would be created in the 19th century). It was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. In the French school, the style that presents Rococo influences is known as Louis XV, and it also inspires works in the 19th century, which receive the same name.

· Size: 43x63x172 cms.
ANTIQUES
FURNITURE

Ref.: ZF0656
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0757
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZE222
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WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid featuring moldings, metal fittings, and corner pieces in wrought iron on a red fabric background, all made from stylized and simplified plant and architectural elements. Key lock on the front. Single-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, tableware, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357
THREE LOCKS CHEST. WOOD, WROUGHT IRON, LEATHER. CA 1600.

Three-lock chest. Wood, leather, wrought iron. Circa 1600. Rectangular chest with a flat lid made of carved wood and covered on the outside with leather and wrought iron fittings (three bolts, corners, two handles, decorations, hinges). Inside, it has a red fabric covering both on the body of the chest and on the lid (an area in which there is embroidery based on geometric elements arranged in a symmetrical composition, including missing details). The type of piece (rectangular box with a flat lid) is one of the most common in Spanish chests and coffers, with examples of this shape being found as early as the early Middle Ages. As for the use of textiles, it was common in Spain as early as the 15th century to make chests lined on the outside and inside, usually in red (the most expensive dyes were red and blue), both to enhance the piece and to protect the contents. Covering the wood with leather on the outside was also common, again to enhance and protect the chest. As for the fittings, the lobed spear-shaped forged iron pieces are reminiscent of examples from the late Gothic period, already influenced by the Renaissance, with some more advanced forms. The three locks have openwork shields decorated with waves and simplified plant elements, and the presence of all three in the same chest refers to a type known as “town hall” or “council” (as there were three keys, it was necessary for the three authorities who had one to come together and agree to access the contents, adding an element of security). It is not very common for this type of piece to be preserved in good condition, and similar examples can be found in some important private collections and in institutions such as the Museum of the Cathedral of Valencia, the City Hall of Los Palacios y Villafranca, the Military History Museum of Seville, etc.

· Size: 125x48x57 cms.
ANTIQUES
FURNITURE

Ref.: Z2316
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COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Sideboard. Walnut wood, wrought iron. Spain, 17th century. A low rectangular cabinet made of oak with wrought iron elements, raised slightly on four legs. It features a slightly projecting, straight top and fronts decorated with carvings. Inside, beneath two drawers, are two doors, all lockable by key (the lock shields are decorated with simple lines only on the doors). Opening the doors reveals a space divided in two by a shelf decorated with a series of cut lines along its lower edge. At the top, beneath the tabletop, are carved corbels with volutes, tongues, and simple architectural elements; along the sides of the front, fluting recalls architectural motifs. The exterior of the doors and drawers, as well as the sides of the piece, are decorated with panels of varying sizes and shapes (crosses, squares, rectangles), following a tradition deeply rooted in Spanish furniture. This allows for comparisons with works such as the 17th-century alcaje (upper section with lattice doors) made of walnut, pine, and iron, now in the National Museum of Decorative Arts in Madrid, or the 17th-century alcaje with turned balusters in the Cervantes House Museum in Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
GOTHIC CHEST. PINEWOOD, METAL. 16TH CENTURY.

Gothic chest. Carved pine wood, iron. 16th century. Rectangular chest with a flat lid made of carved wood and decorated on the outside with a series of divisions into rectangular spaces using smooth mouldings. On the front, these spaces have been decorated with a relief of the type known as “napkin” or “folded cloth” or “parchment”. The rectangular and simple legs still retain some carved detail. In the centre of the front there is a metal lock shield (probably wrought iron) to secure the contents. The relief of folded cloths was common in Gothic furniture, originating in Flanders in the 15th century and commonly used in Spain until well into the 16th century, although there are examples from the 17th century that retain this decorative element. As for the wood, although walnut is common in Spanish furniture, it is not unusual to find examples carved in pine wood. Gothic chests can now be found in several prominent museums: the National Archaeological Museum in Madrid has four Gothic chests from the 15th century (with Gothic architectural decoration and other carved elements); the Lázaro Galdiano Museum has an Italian example from the 15th century with skylights and arches reminiscent of Muslim diamond-shaped panels (Inventory 2141); the Museum of Navarra has a wedding chest made of wood and embossed and polychrome leather from the last third of the 15th century (inventory CE000115); etc. The National Museum of Decorative Arts has an oak sideboard (CE01616) decorated with carved panels “of folds” or “of scrolls”, dated around 1500, and a chest with similar decoration dated between 1476 and 1525 (CE19287).

· Size: 189x62x90 cms
ANTIQUES
FURNITURE

Ref.: ZE148
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

Rectangular chest with a semicircular lid made of carved wood and covered with worked leather that has been reinforced with a series of wrought iron fittings, a material that is also used to make the handle on the lid and a latch on the front with a lock shield decorated with simplified plant elements on the top. The interior has the fabric upholstery that was common in these pieces and that, as a general rule, has not been preserved in good condition, as in this piece. These types of chests were used both to store and transport precious objects, hence the lock, always seeking quality in materials and decoration that would demonstrate the economic power of its owner, as well as maintaining its usefulness. The shape is one of the most common for chests in Spanish Gothic, maintaining the way the fittings and a series of decorative elements are arranged in this style. The barred and rehearsed chests and small chests had very varied shapes and sizes, being so common in Spain during the 15th and 16th centuries that numerous examples are preserved today. Compare, for example, those in the Lope de Vega House Museum (Madrid), one dating from the beginning of the 16th century and with 19th century touches (CE00170) and another with a decoration (inventory CE00004), or the 15th century chest in the Museum of Decorative Arts in Madrid, for example, as well as several examples from private collections.

· Size: 17x10x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0339
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES
SCULPTURE

Ref.: ZE130
NEOGOTHICH CUPBOARD. OAK. 19TH CENTURY.

Neo-Gothic wardrobe. Carved oak wood. 19th century. A tall piece of furniture made of carved oak with a dark finish, consisting of a hollow lower body decorated with “napkin” or “parchment” plaques, bands of linear motifs and thin columns, and an upper body with two doors (which give access to shelves with two spaces); between them there are two drawers with fronts carved with plant motifs. Raised on legs decorated with plaques on the front, the doors have a symmetrical composition of stems with grapes (around Gothic-type letters) in a setting of smooth mouldings, decorated ironwork and human figures on pedestals; the sides of this area have “parchment” decoration. The piece is finished off with a prominent smooth moulding. Typologically, the present piece follows a form that recalls certain Renaissance works (especially buffets) with variations that were already common in pieces from the 19th century. As for the decoration, focused on the front, the influence of Spanish Gothic works is clear both in the subject matter and in the composition: sculptures on pedestals and the clothing of the figures, the compositions of the drawers, the presence of those panels with “napkin” carvings, the panels with the stems and grapes, the letters, the thin columns, etc. Likewise, it is possible to appreciate a certain air from Neoclassicism, a common style in the 19th century. At this time, it was common to draw inspiration from styles of the past to create outstanding furniture, such as the present one. Although Neo-Gothic was more frequently used for ecclesiastical works, it was not absent from important residences and other institutions, as it was one of the favourite styles at the time. It is possible to find examples that recall this cabinet in museums such as the Romanticism Museum in Madrid, the National Museum of Decorative Arts in the same city, etc.

· Size: 50x132x170 cms.
ANTIQUES
FURNITURE

Ref.: Z4866
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FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight stretchers and fixed to the tabletop with stretchers, have no notable decorative elements, but they do feature a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque period, it displays little movement or decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6208
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”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (lower right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, the Libertarian Athenaeum of the People of Vallecas during the Civil War, and the Higher School of Painting, Sculpture, and Engraving at the National Library). During the war, he began his first artistic endeavors in the world of literature. After the war, he was imprisoned for a year, during which time he dedicated himself entirely to painting. In the 1940s, he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to gaining critical acclaim by the end of the decade. The 1950s were crucial in his artistic development; he traveled throughout Spain and presented his work in several national and international exhibitions. It was also during this period that he became associated with the "Madrid School" (he exhibited many works collectively with other members of the school, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque, and Cézanne. In 1960, he received another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years. This period reflected an aesthetic transformation in his work, bringing his painting closer to a language of abstraction and also altering his concept of light. He has received numerous awards (Painting Prize at the 2nd Hispano-American Biennial in 1953 in Havana, Cuba; First Medal at the National Fine Arts Exhibition in 1962; Gold Medal at the Arte-Santander Fair in 1999 in recognition of his artistic career, etc.), and his work has been exhibited worldwide (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and by prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art of Madrid, the Albacete Museum, the Mapfre Foundation, the Reina Sofía National Art Centre Museum in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264
MAHOGANY AND METAL EXTENSIBLE DINING TABLE. ENGLAND, 19TH CENTURY.

Extendable table. Mahogany wood, metal. England, 19th century. Rectangular extendable table with boards and a mechanical system manually operated by crank, made of carved mahogany wood and with metal elements (leg ends, mechanism, rollers). The top board has been left smooth, with a slight recess towards the edges that curves the area and extends to the corners of the piece of furniture, contributing to the comfort of its use as a dining or conference table; the legs have outstanding carving and turning work, with a stipe shape and a reminder of architectural columns due to its combination of mouldings, highlighting the polygonal base and the fact that it retains the small metal wheels or rollers that help move the piece of furniture. Both the wood chosen for the table (mahogany) and the lack of decorative elements (which highlights the quality of the material and the lines) are common characteristics of antique English furniture. Note the similarities with English Victorian style pieces.

· Size: 150x180x71 / 150x320x71 cms.
ANTIQUES
FURNITURE

Ref.: ZE229
PAIR OF NICHES. PINEWOOD. 17TH CENTURY.

Pair of niches. Carved pine wood. 17th century. Pair of altar fragments or niches made of carved pine wood that are decorated with a series of important, voluminous carvings with plant themes, scrolls, ropes, architectural details, cloths, etc., arranged symmetrically around the semicircular arch that acts as the central organizing element of the work and a shell located at the top. These types of pieces were used in the creation and construction of altars in churches, and it is possible that those with niches were in an altar notable for its size and the quality of its carving. It is possible to find certain similar details between this work and other Spanish works, such as, for example, the 18th century niche altarpiece of the Fundación Pintor Julio Visconti (Guadix, Spain), the altar of the Adoration of the Magi of the Church of the Monastery of Sancti Spiritus el Real (Zamora, Spain), elements of some altars of the Cathedral of Cuenca (especially part of the Main Altarpiece of the Main Sacristy), etc.

· Size: 75x30x230 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0498
ENGLISH REGENCY MONOPODIA CONSOLE. ROSEWOOD, BRONZE, MIRROR. FIRST HAL...

English Regency console table. Rosewood, gilded wood, bronze, mirror. First half of the 19th century. Console with a rectangular top with smooth wooden edges, featuring a waist decorated with gilded bronzes and a band of black architectural elements. At the front, it rests on two gilded legs with a feline head (leopard or panther), plant decorations and a lion's claw finish; the back features a rectangular mirror. The base repeats the pattern of the upper area, and is also decorated with gilded appliqués. Although the model shows the influence of the French Empire consoles common at the time, details such as the wooden top, dark lines, felines on the front, etc., are more reminiscent of English examples from the Regency period, so called because it was set at the time when the future George IV was Prince Regent (1811-1820). Compare the feline legs with illustrations by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831), and with furniture designs by George Smith (1756-1826).

· Size: 99x38,5x93 cms
ANTIQUES
FURNITURE

Ref.: ZF1097
WALNUT CUPBOARD. 19TH CENTURY.

Wardrobe. Walnut wood. 19th century. A two-body, carved walnut cabinet with three lockable doors at the top, a space in the centre, and two drawers and two doors with metal handles at the bottom. On the outside, it displays a series of carvings (architectural elements, coats of arms, plant motifs, vases, bands, smooth mouldings, etc.) with a classicist influence and others that recall elements of a strong tradition in Spanish cabinetmaking (“scrolls” on the doors at the top that recall the Gothic tradition, pearls, etc.). The 19th century was a time in European cabinetmaking when a number of influences and styles were mixed together to create new pieces that were rooted in tradition. This example features Renaissance-style reliefs (vases, mouldings, etc.) and other details with a medieval influence (scrolls, etc.), together with a composition (distribution of doors and central space) that was very common in this century.

· Size: 60x160x275 cms.
ANTIQUES
FURNITURE

Ref.: ZE284