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PIETRA DURA RECTANGULAR TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop. Marble and hard stones. Shows signs of restoration. A rectangular panel crafted using a technique inspired by Ancient Rome, very similar to marquetry, which employs marble and other hard stones instead of wood, often highlighting them against a black background. A decorated shield resembling a dome is placed in the center, flanked on the longer sides by two shell-shaped fruit bowls, and on the shorter sides by two bouquets of flowers (carnations, etc.) and fruit (cherries). A border frames these motifs, composed of bands that curve into scrolls and heraldic shields beneath lyres in the corners, enlivened by parrots perched upon them. The inspiration for this work is clearly drawn from the finest examples of the 17th and 18th centuries. The dashboard has been restored.

· Size: 120x240 cms.
DECORATION

Ref.: AM-167 1...
ROUND PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square tabletop. Geometric pattern. Marbles and hard stones. Tabletop with a concentric composition made of rectangles and triangles of different stones, framed by a plain band. While inspired in both materials and technique by works produced by major European workshops from the 16th to the 18th centuries, this type of piece is more reminiscent of the sample boards these workshops used to display their materials to potential clients, due to the prominence of the stones' colors and veining.

· Size: 90x90 cms.
DECORATION

Ref.: AM-222 S...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Octagonal tabletop decorated with work in hard stones. Octagonal tabletop in dark stone decorated with "hardstone work" forming a series of stars in the central area and an elaborate band of flowers towards the outside, in an area separated from the center by two light lines. It was made using a technique similar to marquetry, employing marbles and hard stones (over 7 on the Mohs scale) to create these designs. This technique originated in Italy during the Renaissance and was developed throughout Europe only in a few important workshops.

· Size: 120x120 cms.
DECORATION

Ref.: AM-37 OC...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square tabletop. Hard stones and marbles. The center has been set against a black background to further highlight the border decorated with geometric elements framed by shields and simple shapes. The technique, very similar to wood marquetry, is inspired by examples made in Italy and other important centers in France and Spain from the 16th to the 18th centuries, but the decorative motifs are more closely related to the earliest examples from Medici Florence, before plants and birds became the main theme of these tables.

· Size: 120x120 cms.
DECORATION

Ref.: AM-50 SQ...
CIRCULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Circular tabletop in marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. In the center of the panel, surrounded by a garland of flowers, is a pearl necklace with a bow. Around this element are four vases with birds perched on interspersed branches, and further out, a band with vegetal scrolls. This area is framed by another with simplified scrolls and yet another with more elaborate scrolls interspersed with scallop shells, heraldic shields, and perched birds. The fleur-de-lis border clearly shows the influence of Gobelins tapestry on this panel. The French workshop was established to produce this type of marquetry for the French court and is heir to the native center of hard stonework: Florence, under Piero de' Medici and Lorenzo the Magnificent, who sought to revive a Roman mosaic technique called opus sectile. It is also worth mentioning the Royal Workshop of Naples and the one established by Charles III at the Royal Palace of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. After 1600, the primacy of the decorative motifs that appeared in the 15th century became clear, with elements such as birds, butterflies, and pearl necklaces being added over time. The present example inherits all this tradition: compare with the table made by Francesco Ghinghi in the Royal Laboratory of the Pietre Dure in Naples (catalog number O00511) and the board (O00466) from around the middle of the 18th century, both in the Prado Museum in Madrid, those preserved in the Opificio delle Pietre Dure Museum in Florence (especially works such as the board made as a model for a table by Jacopo Ligozzi around 1610). Traditionally, a technique very similar to marquetry was used, but employing, instead of wood, marbles of different colors and veins and hard stones (greater than 6 on the Mohs scale) such as lapis lazuli, agates… In the present example, many of those used in works between the 16th and 18th centuries have been included, which makes it an outstanding work.

· Size: Diam. 150 cms.
DECORATION

Ref.: AWD1211 ...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Round tabletop in marble and hard stones. “Vineyards and grapes”. Inspired by Italian designs from the 16th and 17th centuries. Circular tabletop with a motif of vine leaves and black and white grapes in the center against a black background. An outer band, marked with two white lines, highlights this element and displays a variegated composition of various flowers and stems with leaves. This form of marquetry, called "hardstone work," uses marbles of different colors and veins, and stones with a Mohs hardness greater than 6. Lapis lazuli and Belgian black marble were frequently used for backgrounds, and, as was often the case with these materials, they had to be imported, hence the high price of these pieces. Desks, furniture, vases, plaques, and other items were made for the high aristocracy and the courts in various European workshops. The technique originated in Florence, thanks to the interest of Piero de' Medici and Lorenzo the Magnificent in revitalizing a Roman mosaic technique (opus sectile). From 1600 onwards, naturalistic motifs were preferred over other themes, and other important production centers were established: in France, the Gobelins Manufactory; the Royal Workshop of Naples took over from the Florentine workshop when the Medici dynasty died out; in Spain, Charles III established another workshop at the Royal Site of El Buen Retiro, which disappeared at the beginning of the 19th century. The present example is inspired by this tradition. Compare with works preserved in important collections: those preserved in the Museo Opificio delle Pietre Dure in Florence, the table in the Prado Museum in Madrid made by Francesco Ghinghi in the Royal Laboratory of Pietre Dure in Naples (catalog number O00511), or the panel “Parrot perched on a pear tree” created in the workshops of the Grand Duke of Tuscany in Florence and preserved in the Kremlin Museum in Moscow (Russia).

· Size: Diam. 120 cms.
DECORATION

Ref.: AWD13 D1...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop with marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. The vein of a particular stone has been highlighted by placing it in the center and surrounding it with a necklace of round and rhomboid beads. Around it, a decoration of vegetal scrolls with flowers, clearly inspired by classical art, stands out. To complete the composition, without detracting from the central area, the outer band displays a series of empty mirrors within cartouches reminiscent of those used during the Renaissance. The technique is very similar to marquetry, but it uses marbles and hard stones (over 7 on the Mohs scale) to create these designs. Desks, boards, and other objects were made using this "hard stone work." Lapis lazuli was typically used with a Belgian marble background, accompanied by jade, chalcedony, and other stones. The price of the materials and the skilled labor made these works of art so expensive that they were only commissioned by the leading houses and courts of the time, which is why today they are only preserved in prominent private collections and major museums. Piero de' Medici and Lorenzo the Magnificent began to support a series of projects in Florence to revive, with thematic and technical modifications, the Roman mosaic technique known as "opus sectile." It was during this period that the greatest decorative variety emerged, because, from around 1600 onward, naturalistic motifs came to predominate. Over the years, birds, parrots, interlacing patterns, pearls, and other elements were added. The work with hard stones was so successful that, from the 17th century onward, a number of workshops were established in Europe to continue this tradition, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples, and the Buen Retiro Palace in Madrid. Compare this table with other masterpieces: the “Duke of Osuna Table” (O00501) made in 1614 and kept in the Prado Museum in Madrid has an outer band that is reminiscent of this one; the “Farnese Table” in the Metropolitan Museum of New York (58.57 ad) also stands out for the veining of the stone in its central area; and some kept in the Opificio delle Pietre Dure Museum in Florence.

· Size: 180x120 cms.
DECORATION

Ref.: AWRT229 ...
SQUARED PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square tabletop. Marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. A frame of simple geometric elements and white oval shields, accompanied by architectural details, highlights the central decorative motif thanks to its light tones. Set against a dark background, this motif consists of vegetal scrolls and flowers arranged inwards with lines, camouflaged by stems, so that despite the abundant decoration, the four-petaled flower at its center stands out. The "hardstone work" employed on this table is very similar to marquetry, but uses marbles and stones with a hardness greater than 6 on the Mohs scale. The idea originated in Florence, as an attempt to revive a type of mosaic used in Ancient Rome called "opus sectile" during the Medici era. It was so successful that other workshops soon emerged in Europe, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples, and the one established by Charles III at the Royal Palace of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. This example is a continuation of that tradition. Stylistic influences are also evident. While initially there was a wide variety of decorative elements in these stone marquetry pieces, from around 1600 onwards naturalistic motifs gained prominence, becoming increasingly diverse over time to include butterflies, birds, fruits, and more. Compare this example with those preserved in the Opificio delle Pietre Dure in Florence, the Roman chessboard from between 1565 and 1590 in the National Museum of Decorative Arts in Madrid (inventory CE 27144), or the anonymous Roman chessboard from before 1636 (O00470) in the Prado Museum.

· Size: 120x120 cms.
DECORATION

Ref.: AWST91 1...
RECTANGULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop made of marble and hard stones. Inspired by Italian models from the 16th and 17th centuries. In the center are two axes of flowers flanked by facing vegetal scrolls arranged geometrically. This motif is framed by a white line forming rhombuses on the shorter sides, along with another blue line. Towards the outside, another band creates square spaces in the corners with simplified flowers and simple scrolls. A wide blue band and a narrower white band are also located on the outer edge. The technique known as "hardstone carving" resembles marquetry, but uses marbles of different colors and stones with a hardness greater than 6 on the Mohs scale instead of wood. It originated in Florence, with Piero de' Medici and Lorenzo the Magnificent attempting to revive an ancient Roman mosaic technique called "opus sectile." It was so successful that workshops sprang up throughout Europe, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples (which took over from the Medici workshop), and the one established at the Royal Palace of El Buen Retiro in Madrid by Charles III. This last workshop, which benefited from the support of skilled local specialists, was closed by Napoleon in 1808 and destroyed in 1812. The objects produced (desks, tables, vases, plaques, etc.) initially displayed a wide variety of decorative styles, but from around 1600 onwards, a clear predominance of naturalistic elements over geometric ones became apparent: flowers, fruits, birds, pearls, butterflies, and so on. The present example is heir to this tradition, as can be seen by comparing it with works such as the table in the Prado Museum in Madrid, made by Francesco Ghinghi at the Royal Workshop of Pietre Dure in Naples (catalog number O00511), or the late 16th- or early 17th-century table created in Rome (inventory 62.259) in the Metropolitan Museum of Art in New York, or those preserved in the Opificio delle Pietre Dure Museum in Florence, or the examples in the National Museum of Decorative Arts in Madrid. However, it is important to highlight the adaptation to more contemporary tastes evident in the geometric interplay of the white and blue bands.

· Size: 150x90 cms.
DECORATION

Ref.: ZAAWRT35...
BLACK MARBLE OCTOGONAL PEDESTAL.

Octagonal pedestal in black marble. The pedestal consists of a base made by superimposing moldings, a shaft and a top panel, all following the octagonal shape and with their planes coinciding.

· Size: 45x45x75 cms.
DECORATION

Ref.: AM042
BLACK MARBLE OCTOGONAL PEDESTAL.

Octagonal pedestal in carved black marble. The smooth top panel, the pedestal shaft, and the base made by overlapping two moldings, follow the octagonal shape and keep their planes aligned.

· Size: 37x37x46,5 cms.
DECORATION

Ref.: AM044
MARBLE FOUNTAIN WITH BASIN.

Washbasin with basin in carved marbles. A circular mirror dominates the front of the basin, flanked by two palm branches and positioned above three cherub heads. The central cherub's mouth opens to allow the fountain's water to flow. At the waist, two cornucopias flank a garland of flowers and fruit. The ensemble rests on two sphinxes very similar to those used in France in examples of the Empire style. The work shows strong influences of early 19th-century art.

· Size: 122x70x170 cms.
DECORATION

Ref.: M0006
PAIR OF TRAVERTINE COFFEE TABLE BASES.

Pair of table legs in carved travertine. Both identical, they are decorated with symmetrically arranged fleshy leaves, reminiscent of tropical plants rather than classically inspired acanthus. The prominence of the natural element in the work is close to aesthetic approaches that emerged in art from the 19th century onward. Travertine, or travertine marble, is a sedimentary rock widely used for interior and exterior decoration since the Roman Empire.

· Size: 40 x 9,5 x 46 cm
DECORATION

Ref.: M0015A
MARBLE FOUNTAIN.

Tall, double-bowl fountain. Carved marble. A fluted circular base rests on a pedestal, supporting the fountain's larger basin, which, like the smaller one, is decorated with simplified volutes. Between them, a vase features a shell-shaped lower half and a smooth upper half. The upper finial displays a large, fluted pearl. While fountains are a feature already found in Babylonian gardens, this particular work is more closely related to Baroque models in its structure and to more contemporary styles in its lines.

· Size: 120x120x185 cms.
DECORATION

Ref.: M0048
ABSTRACT SCULPTURE. MARBLE.

Abstraction. Marble sculpture. Abstract sculpture is non-figurative, based on three-dimensionality and relying on texture and geometric forms, with color sometimes playing a central role. In this example, while it may remind us of some figurative motifs, the curve, the circular shape, and the chosen material are the main elements. Weight 100 kg.

· Size: 35x32x72 cms.
DECORATION

Ref.: M0063
MARBLE FOUNTAIN.

Three-tiered fountain. Carved marble.
A fountain crafted from veined marble, featuring a central axis with balustraded profiles and elegant floral and vegetal reliefs that visually organize the three basins (smaller in diameter towards the top, culminating in a large pearl finial), each decorated with fine reliefs along its rim. This type of fountain draws inspiration from examples of ancient garden architecture, incorporating modern touches, and can be used alone or as part of a small pool or pond."

· Size: 65x65x120 cms.
DECORATION

Ref.: M0081
THREE BASINS FOUNTAIN; CARVEDSTONE.

Three-tiered fountain in carved stone.
Raised on a round pedestal, the fountain features three basins arranged in descending sizes from largest to smallest, each adorned with a lion's head on its front. A bulbous finial with architectural volutes crowns the piece. The work draws inspiration from Neoclassical models, which were heavily influenced by classical antiquity."

· Size: 110x110x210 cms.
DECORATION

Ref.: M0082
PAIR OF MARBLE SPHYNX.

Pair of sphinxes in travertine marble. Although this winged mythological animal with a lion's body and a female head is found in ancient Egyptian art, the idealization, its proportions, and the lines of the sculptures relate them much more to neoclassical examples from 19th-century Europe, especially since Napoleon's campaigns on the banks of the Nile River.

· Size: 120x51x85 cms.
DECORATION

Ref.: M0087
WHITE MARBLE OVAL PLAQUE. “CHILDREN FROM DIONYSUS’ RETINUE”.

Oval plaque in carved white marble. “Children of the retinue of Dionysus”. The three children are seated in a meadow. One holds a branch with bunches of grapes and vine leaves; the second has an arm draped over his shoulder and holds a cup; the third clasps his hands as he looks at his companions. Based on the objects they carry, they can be associated with the retinue of the god Dionysus, also known as Bacchus. This type of subject matter, drawn from classical mythology but not belonging to its main themes, was widely used in art, especially from the 18th century onward.

· Size: 95x5x80 cms.
DECORATION

Ref.: M0093
TABLE BOARD. MARBLE.

Tabletop. Marbles. A round tabletop made of marbles in different shades, forming a symmetrical geometric composition with a certain classical feel. The decoration shows some influence from 19th-century designs, while the material is reminiscent of older Italian "pietra dura" works.

· Size: 100x100x2 cms
DECORATION

Ref.: M0114
TABLETOP. MARBLE. AFTER ANTIQUE MODELS.

Tabletop. Marble. Following antique designs. A circular marble tabletop with inlays of other colored marbles features a geometric design resembling a compass rose, with an eight-pointed star framing a smaller one. The technique is very similar to marquetry, but uses marbles and hard stones (over 7 on the Mohs scale) to create these designs. Desks, tabletops, and other objects were made using this "hard stone work" technique. Lapis lazuli was commonly used with a Belgian marble base, often accompanied by jade, chalcedony, and other stones. The high cost of the materials and skilled labor made these works of art so expensive that they were only purchased by the leading houses and courts of the time, and are therefore now found only in prominent private collections and major museums.

· Size: 100x100x2,5 cms
DECORATION

Ref.: M0115
MARBLE VASE. AFTER CLASSICAL MODELS.

Classic-inspired cup in carved marble. The cup features a wide mouth curved outwards and is set atop a circular base. Its lines connect it to models from all artistic styles inspired by classical antiquity (Renaissance, Neoclassicism, etc.). This type of piece was used both for interior decoration in prominent residences and for exterior decoration in important gardens.

· Size: 50x50x61 cms.
DECORATION

Ref.: M0126A
MARBLE BASE WITH COLUMN.

Cup with column in carved and turned veined marble Both elements were crafted from the same stone to lend uniformity to the piece. The substantial base, the baluster-shaped column, and the cup decorated with pronounced moldings reflect Mannerist and Baroque styles. These types of objects were widely used in the decoration of palaces and their gardens.

· Size: 35x35x130 cms.
DECORATION

Ref.: M0129
WIDE UP ON PEDESTAL IN GREEN MARBLE.

Wide cup on a green marble pedestal. A vase-like form rises from a low column with a smooth, cylindrical shaft and base, supporting a wide cup with an outward-curving rim. Besides its material, the work is notable for its elegance and clean lines, and for its connection to models inherited from 19th-century Neoclassicism.

· Size: 80x80x106 cms.
DECORATION

Ref.: M0131A