Desk furniture. Carved tropical wood, wood, mirror, metal, glass. 19th century. Tall carved wooden cabinet with nine drawers at the front (with metal handles) and a compartment on the top with a lockable lock that contains the desk part; the upper area has two shelves with glass doors on the sides, flanking a rectangular mirror with architectural finishes of classicist influence. The lack of bronze appliqués, the classicist influence and the clean lines are reminiscent of provincial pieces, far removed from the main architectural trends but influenced by them.
Cupboard. Carved and polychrome wood, metal. 20th century. Carved wooden cupboard with two doors with latticework at the top (inside there are two shelves creating three spaces) and two doors at the bottom (giving access to a space with a shelf), with a polychrome finish in green, yellow, etc. tones. Both the lines of the furniture and its finish are reminiscent of works from the old Spanish school.
Pair of forged iron fork locks. 17th century. Pair of forged iron fasteners of the so-called “fork” type due to their shape. This type of piece was used in furniture to secure tables, both dining tables and desks, and for this reason it is a very common piece of forged iron. The spirals and the balustrade parts date both to the Baroque period.
Window frame. Carved stone. 20th century. Window frame made of carved stone in its colour, decorated with scrolls and bands with knots reminiscent of Celtic tradition, as well as a checkerboard pattern that can be linked to examples of Spanish Romanesque among other styles, and scrolls of classical influence. These types of pieces have been made since ancient times to enhance openings in prominent homes.
Pair of fireplace andirons. Iron. 19th century. Pair of iron fireplace andirons, consisting of a horizontal piece to be placed under the firewood and another decorative part at the front (this one made up of a rectangular plate ending in two facing volutes and another vertical piece reminiscent of a column and ending in a flat disk). Although there are elements such as the volutes that already appear in Romanesque wrought iron, the lines of the andirons are more reminiscent of Neoclassical examples in some details.
Framed miniature; “Holy Family”. Wood, paint. 18th century; later framing. The oval frame of carved and gilded wood has smooth mouldings and an openwork top with scrolls and simplified plant details. On one side, a three-quarter view of Saint Joseph is shown, wearing a tunic and habit, holding the flowering staff and carrying the naked, reclining Baby Jesus in his arms. On the other side, also in three-quarter view, a miniature of the image of Our Lady of Solitude of La Victoria in Madrid can be seen (or of a Solitude inspired by this, which was the first image of this devotion in Spain). Stylistically, both images are strongly influenced by models and iconographies of the Spanish Baroque, as was common in 18th-century Spanish religious art (compare, for example, with “Saint Joseph with Baby Jesus” by Murillo, kept in the Auckland Art Gallery, or with the work on the same subject by Alonso del Arco, now in the Museum of Navarre). The main image of the devotion to Our Lady of Solitude was the sculpture by Gaspar de Becerra (which was in the Convent of Our Lady of Victory in Madrid and later in the Collegiate Church of San Isidro, where it was lost), which was used as inspiration for a large number of paintings and sculptures. This type of miniatures decorated with religious images were usually used as elements of personal devotion.
Lamp. Bronze. 19th century. Lamp with a circular vase decorated with a series of classicist decorative mouldings at the bottom and an oval shape from which a ring hangs, and another moulding at the top joining three winged angel heads. From the back of these emerge three chains of polygonal links that go to a piece through a decoration of palms and scrolls, which ends in a ring to go to the ceiling. Also sometimes known as votive lamps due to their frequent presence in churches, these types of lamps were outstanding pieces. Compare, for example, the one in San Antonio de la Florida (Madrid) by Domingo Urquiza dated 1799.
Musicians, relief. Molded alabaster. 20th century Framed relief made of molded alabaster with polychromy inspired by Renaissance works from the Spanish school and, more recently, by a work by Enrique Orejudo Alonso for the Upper Chapel of the Church of the Holy Trinity in Torre-Ciudad, Huesca, Spain. Weight: 37 kg.
Wall mirror. Modeled alabaster. 20th century, following Renaissance models. The rectangular mirror with a semicircular curve at the top has been highlighted along these same lines with a frame finished in marble powder. The decorative elements chosen are inspired by works of the Renaissance: scrolls, metopes, scallops, pilaster strips, straight lines, etc.
Office desk and chairs set. Walnut wood. Circa 1900. Requires restoration. Furniture set consisting of an office desk with armchair and high back, four high back chairs without arms and footrest, made of carved walnut wood. The desk, with five drawers on one of its fronts, displays a series of plant and architectural carvings reminiscent of the Neo-Renaissance. This same influence can be seen in the carvings on the armchair, which also features animal protomes on the arms and studded leather upholstery. The chairs in this set, again, follow the same style, and have upholstery on the back and seat with gold studs. The footrest has a somewhat simpler decoration.
Winged table with turned legs. Walnut wood. Spanish school, 18th century. A folding round table with two wings that can be folded down and supported by two legs joined together for each wing by means of lower jambs. When the table is folded, there is a drawer with a wooden knob on each side and two legs on each side, joined in a rectangle by means of a jamb. The legs and vertical elements of the piece of furniture have turned balustrade elements and discs, as is usual in the Spanish school since the Baroque.
Silver naveta. Spain, 17th century. A forged vessel with the base and lid finials obtained by mould casting. Shaped like a symmetrical boat, it stands on a low circular base with a disc-shaped base and a short shaft with a central lens. The body is decorated by chiselling, with oval cartouches flanked by braces and crowned by rhombuses and half-moons, located on the four axes and on a dotted shaded background that extends outlining the mouth. The lid has the same chiseled motif. At the stern end there is a finial in the form of an acanthus leaf, in relief, and at the bow end there is a handle in the form of a banded pillar. The bow lid is openable thanks to a central hinge. The piece has partial punch marks on the lid and body.
Two volumes: Geographical Atlas of Spain (…) and General Dictionary of all Peoples. Editors Gaspar y Roig. Spain, Madrid, 1864 and 1862. Two volumes framed in a similar way, with leather spines and gold elements. Here a reference to each work (lower area) and the name Carrasco (upper part) appear clearly. One of the volumes is the Geographical Atlas of Spain. Adjacent Islands and Spanish Overseas Possessions. It is indicated that it belongs to the “Collection of maps engraved in steel constructed by Don Martín Ferreiro”, and that it was published in Madrid by the Printing and Bookshop of Gaspar y Roig (the editors), in 1864. It presents a series of maps, engraved in steel (see the touches of color), constructed by Martín Ferreiro and Peralta (1830-1896) and engraved by R. Alabern (indicated under the images). The other volume is the General Geography of Spain. General dictionary of all peoples., belonging to the so-called Illustrated Library of Gaspar and Roig. Published in Madrid, by the Printing and Bookshop of Gaspar and Roig (editors), in 1862.
Louis XV style desk table made of wood with a rectangular top with elegant checkered decoration, it has a drawer and cabriolet legs with gilded bronze applications.
Bronze lamp with antique finish; four lampshades and a ceiling light. Three cords hang from the piece that hides the connection to the ceiling, which descend towards the body of the lamp, also made of bronze and decorated with plant motifs. From this area emerge four stems that end in white glass shades, a material also used for the circular shade that hangs from the bottom.
Ceiling lamp. Antique bronze finish and glass. A bulbous ceiling light with flowers etched into translucent glass has been decorated with a garland featuring scrolls, plant elements and medallions with bows. From this three arms with architectural shapes and finished in latticework extend, which connect the lamp to the ceiling. Inspired by classic French models.
Antique finish iron table base. Rectangular base for a low table made of iron with an antique finish that features flat openwork legs decorated with scrolls and plant elements of Neoclassical influence, similar to European examples from the 19th century, joined together by a simple frame and an upper frame, also reinforced in the central area.
Pair of wall sconces. Gold metal. Pair of wall sconces made of gilded metal, each with six candle holders. The decoration, based on architectural and plant elements and a lion's head, and the shapes of the same show a clear inspiration from examples from the 19th century.
Bidermeier style side table. Carved wood, marble. Side table with a flat circular top made of veined dark marble inspired by the Bidermeier style (developed in the Austrian Empire and Central Europe between around 1814 and the Restoration).
Eastern arch. Carved wood. 19th century. A piece of wood carved in its colour, which was originally intended to decorate a window. Its delicate decorative elements, located in the spandrels of the arch, and in the friezes around the door space, are reminiscent of examples from India.
Victorian style sideboard. Mahogany wood. A sideboard made of carved mahogany, with two drawers and two doors (these with a key lock) at the front, and decorated with mouldings and architectural and plant carvings inspired by English works of the Victorian era. Compare with English chests of drawers or sideboards from the mid- to late 19th century, taking into account both similarities (door mouldings, drawer lines, finials, etc.) and differences (openwork area on the sides, etc.).
Goblet with column in carved and turned veined marble Both elements were made using the same stone to provide uniformity to the work. The strong base, the baluster-shaped column and the crown decorated with pronounced mouldings respond to models related to Mannerism and the Baroque. This type of object was widely used in the decoration of both palaces and their gardens.
Lost wax bronze. Model by Auguste Moureau. Patinated bronze depicting two children together, the boy holding flowers. The piece in this lot follows the models of Auguste Moureau (1834-1917), a famous French sculptor who was especially known for his delicate and naturalistic works, situated within the Art Nouveau movement, a style of which he was an important representative. He made busts, figures and small sculptures, and his designs were later taken up by many other bronze makers due to the artist's success and the quality of the pieces.
Meet new items in catalog promotion news: do not miss the opportunity to learn about the latest.
This website uses cookies, which are text files located in the browser of the user who visits the page. Some are tecnical and essential for navigation and others help analyze the use made by users of the website to improve their user experience. You accept cookies by clicking the acceptance button.
Ref.: ZE183
Ref.: ZF1173
Ref.: ZF1253
Ref.: ZF1298
