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SACRED HEART OF JESUS AND MARY, PAIR. ENAMEL, WOOD. SPAIN, 19TH CENTUR...

Sacred Hearts of Jesus and Mary. Enamel, wood. Spanish school, 19th century. Has damage. Pair of paintings with frames enhanced with openwork plant carvings that show the Sacred Heart of Jesus and the Sacred Heart of Mary in the usual iconography of these images in Spain in the 19th century. On the back they have labels (one dated 1896 and the other two years earlier), relating them to their previous owners.

· Size: 26x9x37 cms /int: 10x14,5 cms
DECORATIVE ANTIQUES

Ref.: ZF1150
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AN ARCHITECTURAL CAPRICCIO OF ROMAN RUINS. OIL ON CANVAS. ATT TO GINER...

Landscape with classical ruins. Oil on canvas. Attributed to GINER, Vicente (ca. 1636-1681). Relining. Landscape with rocks and buildings in the background that presents, in the foreground, some buildings with a marked classicist air, accompanied by two female sculptures on separate pedestals. At the foot of this building, there is a group of people, dressed in the classical manner (women, children and a soldier with a spear). Vicente Giner, canon and artist originally from Castellón, is documented working in Rome during the last quarter of the 17th century (until he died here in 1681), where he requested, along with others, Charles II to create an Academy of Spanish artists. in the city. Experts place him as a collaborator and outstanding follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly coming from Cornelio de Wael's). He painted perspectives of classicist temples and palaces, accompanied by representations normally of popular themes and in which the figures (in a small number) are barely anecdotal elements compared to those architectures. Several private collections and institutions preserve his work, such as the Museum of Fine Arts of Valencia, the Collection of the Bank of Spain (Madrid), collections of the National Trust (Scotland), etc.

· Size: 76x3x91 cms. int 71x87 cms.
ANTIQUES

Ref.: ZF0795
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”SAINT FRANCIS RECEIVES THE STIGMATA” WITH IMPORTANT FRAME. OIL ON COP...

“Stigmatization of Saint Francis of Assisi”, with an important framework. Oil on copper; carved and polychrome wood, metal. Attributed to a follower of Ludovico Cardi (Chigoli; San Miniato, 1559- Rome, 1613). XVII century. Oil on copper with the theme of the Stigmatization of Saint Francis of Assisi (with Brother León) enhanced thanks to a magnificent carved, polychrome and gilded wooden frame of rectangular shape with projecting corners, circular central sides, and decorated in the front with some meticulous and delicate plant formations alternating one with a winged angel head with another that does not present one (the angels in the circular shapes). On the back, you can see a series of inscriptions (one on the copper itself and others on the frame) as well as some metal rings that allow the work to be hung. Ludovico Cardi (also known as Cigoli) was an Italian painter and architect whose activity focused on Florence (where he trained) and Rome. His work is preserved in centers of great importance such as the Pitti Palace, St. Peter's Basilica in the Vatican (Rome), the Basilica of Santa Maria Maggiore (Rome; it has been assumed that the Immaculate Conception of the fresco in the Pauline Chapel is the first reliable representation of the moon, given that the painter was a great friend of Galileo Galilei), the Uffizi Gallery (Florence), the Borghese Gallery (Rome), Hermitage Museum in Saint Petersburg, etc. For this work, it is necessary to remember, in order to see similarities and differences, some paintings by the master: the Saint Francis from the late 1590s in the Hermitage, the one titled Saint Francis Praying (attributed to Cigoli) found in San Giovanni dei Fiorentini (Rome, Italy), The Stigmatization of Saint Francis dated 1596 from the Uffizi Gallery (note the compositional similarities, but opposite - almost as seen in an engraving in the present case, possibly -, and the small differences in colors, composition , background, postures, etc.), and that of the same subject (dated between 1590 and 1600) located in the Duomo of Guastalla (Italy). The copper inscription is difficult to read. In the frame, in addition to others that are less legible, you can see some that are somewhat striking: above, on the left, “José Vega / 1969”; below, in the center “It is from the Soterraña de la / Chapel of Jesus to the column”; under the previous one, “Attributed to / Luisa la Roldana (1656-1704) / 1690”. Although the devotion to the Virgin Soterraña was apparently born in the Church of Santa María la Real de Nieva (Segovia), there are brotherhoods in her honor in other parts of the peninsular geography such as Olmedo (Valladolid), or Seville (Our Lady of the Underground Queen of Heaven and Earth of the Brotherhood of Supper).

· Size: 46x8x51 int 14,5x20 cms.
ANTIQUES

Ref.: ZF0487
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VIRGIN WITH CHILD. OIL ON CANVAS. 19TH CENTURY, AFTER SANZIO, RAPHAEL.

Virgin with Child. Oil on canvas. 19th century, following models by SANZIO, Rafael (Urbino, 1433-Rome, 1520). Framed painting showing the Virgin Mary with the Child in her arms, both holding a book, and located on a natural landscape with buildings to the right. The frame leaves a tondo visible, showing the figurative composition, and, upon removing it, you can see in the corners a series of figurative and vegetal elements (grotesques) of clear Renaissance influence, also present in the rest of the work. This Madonna is clearly inspired by another, known as Madonna Conestabile, found in the Hermitage of Saint Petersburg, a work by Rafael Sanzio, dated around 1504 and which was acquired in Perugia by the Count Conestabile della Staffa and later acquired by the Tsar Alexander II and given to his wife, Maria Alexandrovna. The frame in which it is preserved in the museum is the original of the piece, which measures 17.5 centimeters high and 18 centimeters wide. Taking into account the quality of this piece, it is necessary to highlight the subtle differences it presents with respect to the work that inspired it (size, book cover, details in the brush strokes, etc.). Throughout the 19th century it was very common for important houses, artists, etc. They commissioned painters to create works inspired by their favorite pieces (whether they were in museums or in the residences of noble or aristocratic families), in the same way that they commissioned castings of important sculptures.

· Size: 33x5,5x34 cms / int: 20x20 cms.
ANTIQUES

Ref.: ZF1158
STILL LIFE WITH FLOWERS. OIL ON CANVAS. ALBAICÍN, MARÍA, 20TH CENTURY.

Still life of flowers. Oil on canvas. ALBAICÍN, María (María García García; Madrid, 1943). Signed (lower right area). Daughter of the bullfighter Rafael Albaicín, María García García, she was a disciple of Regla Ortega. Niece of Josefa García Escudero, she was better known as María Albaicín, and became a renowned flamenco dancer.

· Size: 64x3x53,5 cms. int: 49x39 cms.
DECORATIVE ANTIQUES

Ref.: ZE430
SAINT PEREGRINE LAZIOSI. OIL ON CANVAS. 18TH CENTURY.

Miracle of Saint Peregrino Laziosi. Oil on canvas. Spanish school, 18th century.
Oil on canvas showing a man surrounded by angels and sitting on a cloud next to the crucified Christ, who touches the wound in the man's leg. Below, there is a cartouche with an inscription alluding to the identity of the monk and the moment it is shown. Saint Peregrino Laziosi or San Pellegrino da Fortí (1665/66-1345) was a friar of the Order of the Servants of Mary, also known as Servites. According to tradition, he developed cancer in his foot, and spent the day before his leg amputation in prayer. When he woke up, he was cured, and was therefore considered by some to be the patron saint of those afflicted by this disease. Peregrino was canonized by Pope Benedict XIII in 1726.
The composition of the present work, although not the most common on the subject, can be seen in other examples, such as Girolamo da Rocca's 1682 painting of the church of Santa Maria Annunziata in Guastalla in Italy; a painting in the Servites of Carmona (Seville); etc"

· Size: 65,5x5,5x80 cms / int: 48x64 cms
DECORATIVE ANTIQUES

Ref.: ZF1239
LANDSCAPE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (1884-1942).

Landscape. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942).
Signed (lower right area).
Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued it at the San Fernando Academy in Madrid, a city where he became more known in National Exhibitions of Fine Arts. (he achieved a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc."

· Size: 68x4x59 cms. int: 55x46,5 cms.
ANTIQUES

Ref.: ZE428
URBAN LANDSCAPE. OIL ON TABLEX. POSSIBLY CALVO DÍEZ, LUIS (1935-2021).

Urban view. Oil on Tablex. Possibly, CALVO DÍEZ, Luis (Zaragoza, 1935-2021).
Luis Calvo Díez was a Spanish painter, born in Zaragoza, who has been recognized internationally (Sitges, Huesca, Bordeaux, etc.). Until the age of thirty he dedicated himself to agriculture. He trained at the School of Arts and Crafts in his hometown, with Albiac and Alvareda, expanding his studies with Alejandro Cañada. His work is preserved mainly in private collections in France, Spain, Switzerland, Germany, Italy and the United States of America."

· Size: 76x6,5x53 cms. int: 60x38 cms.
DECORATIVE ANTIQUES

Ref.: ZE429
ABSTRACT COMPOSITION, PINK. FRAMED PRINT. BETTINARDI, GRAZIELLA (20TH ...

Abstract composition, “Rose”. Framed print. BETTINARDI, Graziella (20th century).
Signed (lower right area).
Composition of theme and abstract treatment with dominance of pink tones in which you can see several figurative elements (trees, lunar crescent, geometric shapes) arranged in a grid manner."

· Size: 84x2x63 cms
DECORATIVE ANTIQUES

Ref.: ZE423
MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

Mary Magdalene on her way to Marseille. Oil on panel. Castilian school, towards the last third of the 15th century.
Oil on panel that shows a landscape in the background with a walled city, some mountains and the shore of a watercourse (from the subject it can be seen that it is the shore of the sea). In the foreground and in full body, there appears a boat with a sail with circus characters richly dressed and with their respective nimbuses (these decorated with engraved geometric and vegetal elements), two women and three men. Note the anecdotal detail of the fish crossing the waters under the ship.
In the Golden Legend, chapter XCVI is dedicated to the figure of Mary Magdalene, including the journey she made together with Saint Maximinus, Lazarus, Martha, her maid Martila and Saint Cedonius ("the man blind from birth cured of his blindness by Christ), along with other Christians, for being expelled by the infidels who lived in the region where they went to evangelize. They left the ship in the sea, without oars or sails or anything that could help in navigation with the idea that it would be shipwrecked, but God The Catholic Christian tradition ended up ending this journey from the Holy Land in Saintes Maries de la Mer (near Arles), from where Mary Magdalene went to Marseille, undertaking the evangelization of Provence. Note that the Characters represented here are Saint Mary Magdalene, as the main figure of the group, Saint Maximinus, Lazarus, Saint Cedonius and Martha.
There are some known examples in which the Saint is seen accompanied, all the characters located on a ship or related to it. It is not, however, a very common iconography and it seems that it will become even less common after the Council of Trent. Let us cite, as examples, the altarpiece by Pere Mates (Girona Cathedral Museum) from the 16th century with this legend (Provençal legend) in which the saint appears already on land, with the ship in the background; figure entering the boat in Jean Béguin's altarpiece (Rosary Altarpiece in the Basilica of Saint Maximin in Var, France); appears preaching in the port of Marseille in a painting by Ronzen (early 16th century, Marseille History Museum); In the Scrovegni Chapel in Padua Giotto painted the theme of the Miracle of the Governor of Marseille (a theme related to this arrival) with figures in the boat and the governor's wife on the island; Magdalene Altarpiece by Lucas Moser (St. Mary Magdalene Church in Tiefenbronn).
Stylistically, a clear Flemish influence can be seen in the painting: note the details of the jewelry on the clothing, the qualities, the faces and the naturalism sought in them (within the idealization that corresponds to the sacred figures), the landscape and the strength of the fund, etc.
The influence of flamenco art on the Castilian school began thanks to the patronage of the Mendozas, shortly after the middle of the century, and the growing relations with Flanders also contributed to its development (it is necessary to remember the trip of Jan van Eyck in 1427) such as the importation of flamenco works. Thus, the Hispano-Flamenco style reached a great development in the last quarter of the 15th century in what refers to the Kingdom of Castile, with a series of interconnected minor schools, thereby providing a certain unitary character to the art of this style in this geographical area. . As for names (and remembering that there are a large number of anonymous works and authors about whom we do not know data), we have the one who is considered the introducer, Jorge Inglés, and figures such as Fernando Gallego, centers such as Valladolid and notable workshops such as the from Burgos or Toledo."

· Size: 83x11x128 cms int 73x118 cms
ANTIQUES

Ref.: ZF1052
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century.
Numerous ships and boats appear in the landscape, accompanied by small characters. In the background a city stands out, with walls, houses, towers, etc., among which a high-rise structure stands out, which, together with the presence and shape of the port, allows the view to be clearly identified.
That mentioned structure is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and appears in numerous views of the city with a clear prominence. Compare with a 16th-century copper engraving with specimens in several museums, the View of the Port of Antwerp from the Vlaams Hoofd by Bonaventura Peeters the Elder (1614-1652) made between 1614 and 1652 (Museum aan de Stroom), the View of Mathys Schoevaerdts painted between 1660 and 1702 (same museum), etc."

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES

Ref.: ZF0975
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony Abbot. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690).
Oil on canvas showing a figurative scene located inside a cave. Towards the right, you can see a standing, supported cross; to the left, a hut; and in the center of the painting an older, bearded man appears leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloths and clothing.
Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the hermitage movement. He was tempted on numerous occasions by the devil while he was in the desert, making this a frequently represented theme in art (as can be seen in this oil painting). He is represented with a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitalarios) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they).
David Teniers II or The Younger was a prominent Flemish painter and printmaker, son of David Teniers The Elder or I and father of David Teniers III, highly appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony on numerous occasions: Prado Museum in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection and has been dated between 1630. and 1680 and is signed. Likewise, it is necessary to indicate that there are known engravings with this theme made from works by the painter (work from the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California , United States of America, also by Frans van der Wyngaerde and from the 17th century)."

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
CHRIST WITH ANGELS. OIL ON COPPER, EBONY FRAME, TEXTILE, ETC. POSSIBLY...

Christ with angels. Oil on copper, ebony frame, textile. Possibly Flemish school, 17th century. Oil painting on copper enhanced with a textile strip that also presents an ebony wood frame decorated with several smooth moldings and a flat area. The image presents Jesus, with a halo of light around his head, arranged as a bust, and with a choir of angels (full body and winged heads) with draperies moved by the wind (some naked) and a series of clouds. Iconographically, it is not the most common thing to see Jesus at an “intermediate age” (neither an adult nor a baby or a small child), the age range of the present image being characteristic of scenes such as Christ among the doctors, or representations of the Holy Family. . It is very common, since the Middle Ages, to accompany it with heavenly choirs of angels. Compare the work with an engraving by Gerard Edelinck, made in France between 1562 and 1707 (exemplary in the Rijkssmuseum in Amsterdam) that shows a medallion with Jesus, very similar to the one on this copper, flanked by angels and on some child figures in an attitude of dance.

· Size: 35x4x39,5 cms. cobre: 13x16 cms
ANTIQUES

Ref.: ZF1206
FRAMED DRAWING. 20THC ENTURY (1976).

Framed charcoal drawings. 20th century (1976). Signed and dated (upper right area). Leaf showing a series of very varied notes or sketches (two human figures below, groups of people above) made in charcoal. Stylistically, the influence of certain 20th century avant-garde movements can be clearly seen in compositions, treatments, themes, etc.

· Size: 81x5x65 cms. int. 58x41 cms.
DECORATIVE ANTIQUES

Ref.: Z5820A50
SEA LANDSCAPE. OIL ON BOARD. SPANISH SCHOOL, 20TH CENTURY.

Marine. Oil on panel. Spanish school (Gonzalo Jiménez), 20th century. Signed (lower right area). Landscape painted in oil on panel that shows a beach with a series of buildings and a boat, without human presence. Stylistically, the predominance of color over the drawing, the brushstroke, the tones, the theme, etc. They respond to innovations contributed by certain avant-garde movements that appeared in France from the end of the 19th century.

· Size: 45x3x38 cms. int;25x17,5 cms
DECORATIVE ANTIQUES

Ref.: Z4645
FRAMED LITOGRAPH, DOMUS AUREA. CARLO ROMANO, AFTER FRANCESCO SMUGLEWIC...

Framed lithograph, fresco from Nero's Domus Aurea (Rome). Engraved by Carlo Romano, following design by Francesco Smuglewicz. Painted lithograph showing a grotesque frame with plant elements and mythological creatures in the corners and a seated male figure in the center of the composition, perhaps Bacchus given the presence of vine leaves. The work follows a design by Francesco Smuglewicz, made from frescoes found in the 18th century in the Domus Aurea of the Roman Emperor Nero.

· Size: 92x3x86 cms
DECORATIVE ANTIQUES

Ref.: ZE418
FRAMED LITOGRAPH, DOMUS AUREA. CARLO ROMANO, AFTER FRANCESCO SMUGLEWIC...

Framed lithograph, fresco from Nero's Domus Aurea (Rome). Engraved by Carlo Romano, after design by Francesco Smuglewicz Painted lithograph showing a grotesque frame with elements and a male figure riding a horse in the center of the composition. The work follows a design by Francesco Smuglewicz, made from frescoes found in the 18th century in the Domus Aurea of the Roman Emperor Nero.

· Size: 92x3x86 cms
DECORATIVE ANTIQUES

Ref.: ZE419
GARLAND; RAFFAELO INV. VOLPATO SCUL. EDIT P.V. 5. FRAMED COLOURED PRIN...

Wreath; Raffaello inv, Volpato Scul. Edit PV 5. Painted etching, framed. 20th century, following ancient work inspired by Rafael Sanzio. Colored and framed engraving that presents a garland with flowers, fruits and bows enhanced by a fine frame of plant elements. Towards the right of the image you can read “Rafaello inv / Edizioni Ponte Vecchio” and “Volpato scul. Edit PV5” (the latter on two stamps). The work is made following some 18th century engravings by Giovanni Volpato (1733-1803) and Raffaelo Sanzio Morghen (1758-1833), edited by Edizioni Ponte Vecchio, in which images of the frescoes by Rafael Sanzio from the Loggia of the Vatican (Rome, Italy).

· Size: 40x2,5x102,5 cms
DECORATIVE ANTIQUES

Ref.: ZE421
PLANTS; HELLEBORASTER MAXIMUS, ETC. COLOURED AND FRAMED PRINT. 20TH CE...

Floors; Helleboraster maximus, etc. Colored engraving, framed. 20th century, inspired by BESLER, Basilius (1561-1629). Hand-colored and framed engraving showing, in the center, a plant, flanked by two smaller ones. All three present their name, in Latin, below them, highlighting the central one, Helleboraster maximus, called Helleborus foetidus by Linnaeus in 1753, it is a genus of angiosperms of the family Ranunculaceae, and one of its varieties is known as Christmas rose . The plate is inspired by one of the work “Hortus Eustettensis” by Basilius Besler (1561-1629), who was a respectable German doctor, pharmacist, and botanist from Nuremberg.

· Size: 71x3x86 cms
DECORATIVE ANTIQUES

Ref.: ZE424
INTERIOR. OIL ON BOARD. GIFFEN CAULDWELL, LESLIE (1861-1941).

Inside. Oil on panel. GIFFEN CAULDWELL, Leslie (United States of America, 1861-1941). Signed (lower left and upper right). Oil on panel that shows an interior with a series of objects (shelf, part of the wall, ceramic or porcelain pieces...) with a treatment derived from certain contributions from European artistic avant-garde, as can be seen from the framing of the scene, the predominance of color over the drawing, brushstrokes, etc. Leslie Giffen Cauldwell was a painter born in New York (USA) who trained at the Académie Julian in Paris (France) with Gustave Boulanger and Carolus-Duran and exhibited his work in the Salons of 1885 and 1888. His work is preserved in collections privately and in institutions such as the Orsay Museum in Paris.

· Size: 45x5,5x55 cms / int: 25x35 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z4172
LANDSCAPE. OIL ON CANVAS. DEL VAL, TROUILLHET, MERCEDES (SPAIN, 1926-2...

Landscape. Oil on canvas. DEL VAL TROUILLHET, Mercedes (Valladolid, 1926-2012). Signed (lower right area). Mercedes del Val Trouillhet was a painter from Valladolid who began her training very young (first lessons at the age of seven, directed from Madrid by her teacher Timoteo Pérez Rubio). After the Civil War, he went on to study with the great cartoonist and poster designer José Picó Mitjans (1904-1991). From the beginning of his career he dealt with the theme of landscape, especially Castilian, and showed his work in several exhibitions (Valladolid in 1947, later Madrid, Córdoba, etc.). He also received several awards (Silver Medal at the XXIX Salon d'Automne in Madrid in 1957...) and his painting is preserved in several private collections and in institutions such as the Museum of the University of Valladolid.

· Size: 46x2x33 cms.
DECORATIVE ANTIQUES

Ref.: Z2744
LANDSCAPE, BEACH. OIL ON BOARD. SPANISH SCHOOL (GONZALO JIMÉNEZ), 20TH...

Beach. Oil on panel. Spanish school (Gonzalo Jiménez), 20th century. Signed (lower right corner). Landscape painted in oil on panel that shows a beach with a series of buildings, without human presence. Stylistically, the predominance of color over the drawing, the brushstroke, the tones, the theme, etc. They respond to innovations contributed by certain avant-garde movements that appeared in France from the end of the 19th century.

· Size: 41,5x3x38 cms. int:23x18 cms.
DECORATIVE ANTIQUES

Ref.: Z4111
”SUEÑOS ONÍRICOS”. OIL ON CANVAS. SPANISH SCHOOL, 1981.

Dream dreams. Oil on canvas. Spanish School (F. Colomer), 1981. Signed, dated and titled (back). Oil on canvas with an abstract theme, with influences from the artistic avant-garde of the same name, made in blue colors with gold highlights and an insistence on the material that is notable on the part of the author. Date, title and name of the painter are found on the back of the work, in the upper left area.

· Size: 53x3x43 cms. int: 43x33 cms.
DECORATIVE ANTIQUES

Ref.: Z4478
GENTLEMAN. OIL ON CANVAS. SPANISH SCHOOL, 19TH CENTURY.

Portrait of a gentleman. Oil on canvas. Spanish school, 19th century. Has damage. Three-quarter portrait showing a man with a mustache against an indeterminate background, wearing a jacket and with a horseshoe brooch on his cloth neck tie or bowtie. The work can be placed towards the second half of the 19th century.

· Size: 47,5x5x66 cms.
DECORATIVE ANTIQUES

Ref.: Z0267

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