Lot

103

Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w

In Legends, Myths and Symbols

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Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 1 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 2 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 3 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 4 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 5 of 10
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Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 9 of 10
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Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 1 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 2 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 3 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 4 of 10
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty w - Image 5 of 10
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Barcelona
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty work. Peru. 18th century.

Red cedar wood interior, the exterior is covered in tortoiseshell and mother of pearl as well as iron fittings. Its structure consists of flat sides, an upper lid and lower drawer. There is a filing drawer for storing small objects inside. 62 x 35 x 37 cm.

There is an almost identical example to this one at the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, and in the Prado Heudebert family collection in Lima.

With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (https://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas :

“With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru. This very singular style of production of alt-luxury furniture continued until the 19th century. On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted. There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.”

The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty. These same floral motifs are present on inlaid boxes and are, one can affirm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.” Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.

As María Campos Carlés indicates, also in “Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII” (An enduring legacy of Hispano-America. The furniture of the Viceroyalty of Peru of the 17th and 185h centuries): “Oriental influence on the furniture of the Peruvian and Mexican coasts began in the mid-17th century when Japanese craftspeople arrived in the Americas, whether Christian or not, they were specialised in Namban lacquer. They brought with them knowledge of how to use lacquer combined with mother of pearl and other materials. They trained European artisans in these skills, as well as converted Muslims and indigenous people, all of these with artistic experience and who learned the technique quickly, being then able to plan, design and build luxurious furniture which became known as “enconchados” and which came to replace the Namban style furniture …It is important to highlight the natural inclination that the artisans of Arab origin that lived in the Viceroyalty of Peru had for covering flat surfaces with abstract motifs. They can be discovered in the way that ornaments and lattices became geometrical and repeated, reflecting a Spanish influence seen in Hispanic-Mudejar furniture.
Trunk "enconchado" (encrusted) with tortoiseshell and mother of pearl. Iron fittings. Viceroyalty work. Peru. 18th century.

Red cedar wood interior, the exterior is covered in tortoiseshell and mother of pearl as well as iron fittings. Its structure consists of flat sides, an upper lid and lower drawer. There is a filing drawer for storing small objects inside. 62 x 35 x 37 cm.

There is an almost identical example to this one at the Isaac Fernández Blanco Museum of Hispano-American Art in Buenos Aires, and in the Prado Heudebert family collection in Lima.

With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (https://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas :

“With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru. This very singular style of production of alt-luxury furniture continued until the 19th century. On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted. There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.”

The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty. These same floral motifs are present on inlaid boxes and are, one can affirm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.” Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.

As María Campos Carlés indicates, also in “Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII” (An enduring legacy of Hispano-America. The furniture of the Viceroyalty of Peru of the 17th and 185h centuries): “Oriental influence on the furniture of the Peruvian and Mexican coasts began in the mid-17th century when Japanese craftspeople arrived in the Americas, whether Christian or not, they were specialised in Namban lacquer. They brought with them knowledge of how to use lacquer combined with mother of pearl and other materials. They trained European artisans in these skills, as well as converted Muslims and indigenous people, all of these with artistic experience and who learned the technique quickly, being then able to plan, design and build luxurious furniture which became known as “enconchados” and which came to replace the Namban style furniture …It is important to highlight the natural inclination that the artisans of Arab origin that lived in the Viceroyalty of Peru had for covering flat surfaces with abstract motifs. They can be discovered in the way that ornaments and lattices became geometrical and repeated, reflecting a Spanish influence seen in Hispanic-Mudejar furniture.

Legends, Myths and Symbols

Sale Date(s)
Lots: 162
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Tags: 15th-18th Century Art, 19th-21st Century Art