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VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school of the late 17th century – early 18th century. “Virgin and Child”. Carved and polychrome wood. Devotional image carved in wood in the round and polychrome, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the ample folds of Mary's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus leans forwards in turn, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nestled within them. With the State's economy in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people that promoted its development, the works being financed on occasion by popular subscription. Sculpture was thus forced to express the ideals that prevailed in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with intense emotional content to increase the fervour and devotion of the people. Religious subject matter is, therefore, the preferred theme of Spanish sculpture in this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the embodiment of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oils Container. Pewter. A pewter vessel featuring a foot, a curved body, two handles, and a lid. Its exterior decoration clearly shows influence from the Rococo style of 18th-century Europe (note the rocailles on the handles, the bands on the body, etc.) along with some slightly classicist details. One front features a crowned heraldic shield framed with scrolls, and the other features an ecclesiastical shield.

· Size: 36x22x47 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0937
ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

Synchronous type electric telegraph for a ship's bridge. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, mid-20th century. Bronze, glass, carved wooden base. An electric bridge telegraph, of the synchronous type, used, thanks to a replica in the engine room, to transmit the required speed orders. It has a simple square base made of carved wood, a metal body with a door closed by screws and a circular top with the usual lever. This circular area has a transparent glass and a blue arrow to indicate various speeds (forward and reverse), above the emblem of the manufacturing company and the type of machinery, model and power. It was a very effective and widely used mechanism while there was no internal voice communication between different parts of the ship and it was necessary to operate the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces appreciated today for their appearance and history. Fenya (Fabricaciones Eléctricas, Navales y Artilleras) was a company founded in Ferrol by José María González-Llanos y Caruncho (who also founded ASTANO -Astilleros y Talleres del Noroeste- in 1941), with three telephone designs as its first product. This was followed by telephone exchanges, electrical equipment for ships, electrical panels and motors, becoming one of the main auxiliary companies in Ferrol. It closed definitively in 1997.

· Size: 42x42x130 cms. base 55x55 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z0434
EMPIRE COMMODE. MAHOGANY, OAK, ORMOLU BRONZE, SAINT ANNE MARBLE. FRANC...

Empire chest of drawers. Mahogany, oak, gilded bronze, Sainte Anne marble. France, 19th century. Rectangular chest of drawers with a Sainte Anne marble top, made of carved mahogany and oak, with three drawers at the front decorated on the front with two rings emerging from the jaws of two lion protomes in gilded bronze and a lock shield with two crossed cornucopias; under the top there is another hidden drawer with internal divisions; the front legs have been carved in the shape of a claw, and the rear ones are rectangular. The marble known as Saint Anne is a dark grey veined marble from Belgium and widely used for furniture tops, monuments, etc., although Louis XV and Victorian style fireplace fronts and other objects made from this stone have been preserved. The high-quality gilt bronze fittings, the composition of the furniture and its decoration link the piece to the French Empire style, so called because it developed mainly during the First French Empire (although it began during Napoleon's military campaigns in Italy and Egypt). However, it is worth noting the lack of decorative elements for which the French examples are known. Similar examples can be found in prominent European residences, mainly in France. In Spain, similar chests of drawers are preserved in various palaces and institutions such as the National Museum of Decorative Arts or the Museum of Romanticism in Madrid, for example.

· Size: 128x60x95 cms.
ANTIQUES
FURNITURE

Ref.: Z0546
WALNUT AND IRON TABLE. SPANISH SCHOOL, 20TH CENTURY AFTER 17TH CENTURY...

Dining table. Walnut, wrought iron. Spanish School, 20th century, modeled after the 17th century. With restorations. A rectangular tabletop on two lyre legs with edges animated by curves and counter-curves secured to the tabletop by two S-shaped wrought iron fasteners, with balustraded areas toward the center and decorated with discs where the latter two meet. The upper part, truly simple and with clean lines, clearly shows that this is a piece of furniture created for purely utilitarian purposes. However, its size places it in a house of a higher purchasing power: this meant that it was always seen in the same place, but dressed in a quality fabric and with a series of important pieces on top: ceramics, silverware, glass, etc., which were especially appreciated by the owner. For this reason, it is the lower part that does show a little more work with the lyre legs, with their profiles animated by curves and counter-curves and small semicircular moldings, elements that, due to their movement, place the work within the Baroque period. These sinuous shapes are also seen in the retainers, tubular and baluster-shaped toward the center and highlighted by discs in two sizes. Walnut was the wood most often used in furniture of the period in Spain, and its shapes also reflect this origin. Although it was frequently found in high-end homes, not many examples have survived due to changes in taste, customs, and practices over the centuries. Noteworthy examples include, for example, the one in the Sala de las Firmas (Signing Room) of the Viana Palace in Córdoba, the one in the dining room of the Lope de Vega House Museum in Madrid, one in the National Museum of Decorative Arts in Madrid (inventory CE 27479), and another in the Elcano Patio of the building known as the Ministry of Foreign Affairs in Madrid (Plaza de Santa Cruz).

· Size: 229x89x81 cms.
ANTIQUES
FURNITURE

Ref.: Z0749
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ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. 19th century. A rectangular mirror with a frame accentuated by a crest that extends along the sides. This crest is formed from scrolls and rocaille motifs, directly inspired by 18th-century examples of this style. The straight lines within the mirror demonstrate that, as was common in the 19th century, elements from past styles were incorporated to create works more in keeping with contemporary tastes.

· Size: 45,5x60 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z6615
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramic. Possibly Italy, 18th century. A globular jug with a small base, a narrow spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of glazed ceramic and decorated with a composition in blue on a white background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using various shades of blue, a significant variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the case of Italy and in ceramics (with this origin, usually called “maiolica”), cobalt blue decoration on white is already found in works inspired by Byzantine in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it was distantly inspired by Chinese porcelain works that used these colours) continued, with touches of other colours. Compare this work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name “berrettina” refers to glazed majolica in light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, mainly in Liguria and Veneto. It is also worth mentioning a series of pieces with which this one has something more closely related: a pharmacy jar with Saint Paul (made in Savona in the 17th century, now in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZE205
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GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Mantel clock. Gilt bronze. 19th century. Mantel clock made of gilt bronze with a powerful base, enhanced by legs decorated with Classicist-inspired plant and architectural motifs, and a series of details on the front (scrolls at the chamfered corners, scrolls, and a center with a globe radiating light and a scroll, both with inscriptions), as well as bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal is a scroll for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-style hands), surrounded by a garland. In this area, there is a male figure, dressed in Renaissance clothing, holding a drawn sword; in addition, a series of elements have been placed on the dial (a globe, documents with cursive French text, etc.). The allusion to science is clear in the prominent display of the documents with their respective texts and the sphere. The detail of the sword refers to war. Thus, it would be a figure that unites wisdom and action, uniting both in the knight of a certain age, as should be the case in a ruler or a person of a certain social class. The finest examples of bronze table clocks were made in France during the 19th century, or so it was widely believed. This is due to the careful organization and regulation of the manufacture of bronze appliqués and elements, the use of mercury-gilt bronze, and the participation in the creative process of leading artists who were responsible for the designs of the figures and decorative motifs (it was also not unusual to create figures inspired by or more directly copying great works from the history of art). The resulting clocks were highly prized and were used to decorate the interiors of palaces and prominent residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF0207
SET OF TWO ORNAMENTAL MIRRORS. GILT WOOD. ROCCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood. 18th century. Pair of carved and gilded wooden cornucopias decorated with a fine moulding on the inside and an elaborate composition of vegetal elements with curved shapes on the outside, leaving empty spaces and a marked asymmetry in both, tempered by carving both examples with the same decoration. This type of work was only carried out for main houses, since its main use was to reflect the light of candles and lamps in these luxurious interiors, also showing the economic power of their owners. The method of making mirrors from sheets of glass was discovered in Venice in the 16th century, and was kept secret until approximately a century later, when the role of mercury in the process was known in London and Paris, allowing the expansion of these elements. However, the use of cornucopias did not spread throughout Europe until the Rococo period, and their use and creation has continued since then. From the beginning, and with the idea of showing the economic prosperity of its owner and helping with lighting, it was normal for it to be gilded after its carving. The movement that the pieces present inside, where the mirror would be, provides a first clue to place it in an artistic style. As for its decoration, the vegetal elements, the braces, the curved shapes contrasting with counter-curves and the scallop details refer to the clear belonging of the two examples to the Rococo, differentiating them from both the 18th century examples with a greater neoclassical influence, as well as from those of the 19th century. The asymmetry that each of the cornucopias has in its decoration refers to the beginning of this style, given that, after a time, the contrasts of this artistic style were softened by placing the decoration in markedly symmetrical compositions.

· Size: 64x25x110 cms.
ANTIQUES
FURNITURE

Ref.: ZF0276
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), circa 1784-1803. A piece of soft paste with wavy edges used to hold the stems of glasses in place and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced by gilding) which frame floral bouquets with coloured leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro in Madrid, established in the Spanish capital from 1760 onwards and thanks to Charles III; this stage corresponds to the “controls” of Charles Scheppers and Philip Gricci, and continues the Italian influence, adding a relationship with other currents (English, Saxon). Weight: 2225 grs

· Size: 33x19x13 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF0431
CHILD JESUS. IVORY, WOOD. 18TH CENTURY.

Infant Jesus. Ivory and polychrome wood. 18th century. Ivory carving of the Infant Jesus, standing and naked, raising one of his arms in a gesture of blessing and placed on a pedestal or base of carved, polychrome and gilded wood decorated with plant elements in the corners with a certain Baroque feel. It has a CITES certificate. Valid for the European Union

· Size: 12x9x30 cms. Niño 9x6x22 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0756
MIRROR WITH SILVER AND ENAMELS FRAME. WOOD, GLASS, ETC. MEXICAN SCHOOL...

Mirror with cabochon frame. Silver, enamel, wood, stucco, etc. Mexican school, 17th century. No contrast marks. Has faults. Mirror with a slightly rectangular frame made of wood with polychrome areas and embossed silver plating on stucco and enhanced with enamel cabochons with geometric elements in dark and light blue. On the front there are a series of smooth mouldings, one of which has the aforementioned polychromy. The silver stripe is distributed around the outside of the piece, with the corners in exposed wood and stripes in smooth silver (two on each side), and a decoration with a certain volume in which architectural elements with a clear classicist influence are combined (in the centre of which are the enamel cabochons), flanked in the more elongated areas by compositions with scrolls, volutes, plant motifs and fruits. Stylistically speaking, the work can be linked to works in the same technique made in Mexico, mainly on small chests. Also, as is usual due to the peninsular influence, it is possible to recall works such as the Holy Thursday Chest from the 17th century in Barbastro. Weight: 5.7 kg.

· Size: 54x6x61 cms. int: 39x46 cms
ANTIQUES
FURNITURE

Ref.: ZF1191
CHRIST WITH AN ANGEL. OIL ON CANVAS. 18TH CENTURY.

Christ with angel. Oil on canvas. 18th century. The painting depicts Christ, dressed, supported by the shoulders or back by an angel, both figures situated in an indeterminate space, accompanied by various symbols of the Passion (cross, chalice). The theme of the dead Christ supported by an angel has been treated several times in art (Antonello da Mesina in the 15th century, Fernando Yáñez de la Almedina, Alonso Cano, Jacob Backer the Elder, etc.), with the peculiarity that, following the text that inspired it, Jesus appears with the loincloth and not fully dressed as in the present work.

· Size: 102x8x125 cms. Int 84x107 cms
ANTIQUES
PAINTINGS

Ref.: ZF1331
MAHOGANY THREE-SEAT SOFA, ELISABETH II STYLE (SPAIN), 19TH CENTURY.

Elizabethan triplet in mahogany, 19th century. A three-seater sofa with carved floral motifs, four cabriole legs, short curved and partially upholstered arms, and single-member oval “à la reine” backrests, linked by plant motifs to provide continuity. The influences of contemporary French furniture are clear in all Elizabethan works, a style so named because it was during the reign of Elizabeth II (1830-1904) that it reached its peak.

· Size: Sofa: 185x110x60 cms. / 66x60x110 cms.
ANTIQUES
FURNITURE

Ref.: Z0684
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MAHOGANY SHOWCASE CABINET. ENGLAND, 19TH CENTURY.

English display cabinet. Mahogany wood. 19th century. A display cabinet with shelves and two glass doors decorated with geometric patterns, topped by a broken pediment with vegetal motifs, rests on a unit with two drawers at the front, four legs, and a chambranle or shelf at the bottom. Certain elements of the unit are reminiscent of the Chippendale style, and the beveled carving on the drawers and the top of the "table" is particularly noteworthy.

· Size: 77x43x195 cms.
ANTIQUES
FURNITURE

Ref.: Z5022
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BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Inscribed mortar. Bronze. Spain, 1823. Bronze mortar with a flared mouth and a seamless, truncated cone-shaped body, tapering in diameter to the base. It features two handles or "pieces" toward the smooth decorative moldings on the top. The piece features, almost on the rim, an inscription (I AM FROM D. GREGORIO OCANA, YEAR 1823) in capital letters and a date in Roman numerals with spaces between them; and the text (reversed from the other) "Mazon fecci" (Mound of Fire); both flanked by a simple molding above and another below. This large mortar is of the type commonly known as "hospital" because it was commonly used for medicines in settings with many sick people or in important apothecaries. Typologically, it follows the usual pattern in these examples from the Spanish school during the 19th century: smooth, with moldings, and, as a rule, without the ribs (or derivatives thereof) that often appeared in the earlier ones. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs, and human heads as handles), a large mortar and pestle in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, etc.

· Size: 37x34,5x25 cms.
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: ZF1007
WARDROBE WITH GUN RACK. CHERRY WOOD AND OAK. FRANCE, 18TH CENTURY.

Armoire with gun cabinet. Cherry and oak wood. France, 18th century. A two-door cabinet with three drawers at the bottom, all of which have a locking system, and a compartment on one side for storing firearms. The front of the lower part has gentle curves between two cabriolet-shaped legs and carved details; the two doors have been decorated with Rococo-influenced mouldings on their curves; it also has a moulding on the top. This piece shows a clear influence from the so-called Provençal and Louis XV style examples.

· Size: 173x68x220 cms.
ANTIQUES
FURNITURE

Ref.: Z0609
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POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Polychrome and gilded wood carving. “Saint Luke the Evangelist”. 16th century. A freestanding devotional figure of a bearded man standing with one knee raised to support a tablet on which he writes. Beneath his left leg, a bull lies on the ground, looking towards him. The drapery reveals the gold base of the gilded decoration. Saint Luke is frequently depicted as a mature, bearded man, accompanied by the Tetramorph, the creature with which he is associated (Revelation 4:6-7), an element also derived from a verse in the Book of Ezekiel (1:10). The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, which explains why the back is only sparsely decorated and polychromed, and it was either displayed alone or as part of a scene such as the Last Judgment. Stylistically, the gilding and design of the sculpture retain details from the Gothic tradition. However, the figure's accurate anatomy, the restrained movement conveyed by the drapery and posture, and the naturalism and expression of its face link the work to the Renaissance. In Spain, this artistic style was introduced throughout the 16th century, with significant variations depending on the region and artist. After an initial period in which strong medieval influences persisted, the second third of the century saw the introduction of Mannerism by artists who had traveled to Italy and returned with these innovations. The sculpture is most closely related to this second period, though it still retains medieval details and the restraint of its movement and expressiveness. Compare, for example, the works of Alonso de Berruguete and Juan de Juni, such as the Evangelists Saint Luke and Saint Mark from the Church of Santa Eulalia de Ganuza, now in the Diocesan Museum of Pamplona. It requires cleaning and restoration of polychromy.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Processional cross finial. Gilt bronze. 20th century. Latin cross with straight arms decorated with tabs between mouldings on both fronts, rays at the intersection of the arms, and multi-lobed finials reminiscent of fleur-de-lis decorated with flowers and palmettes at the ends; on the obverse, Christ crucified with a halo of rays and a loincloth; on the reverse, the Virgin Mary with a halo, standing in an attitude of prayer. Knot composed of various elements (mouldings of different radii, etc.) among which a circular central body stands out, enhanced with small cresting and reliefs with the four Evangelists accompanied by their element of the Tetramorph and situated in landscapes. As can be seen in various elements, the piece is inspired by styles of the past.

· Size: 56x36x108 cms
ANTIQUES
SCULPTURE

Ref.: ZF0612
WHEELCHAIR, 19TH CENTURY.

Cart for the disabled, 19th century. A cart with an upholstered seat and two wheels with shock absorbers at the rear and a smaller one at the front that can be steered by means of a crank. The footrest has been decorated with geometric marquetry studded on the outside. Its state of preservation should be noted.

· Size: 180x83x100 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z0713
GILT BRONZE GUÈRIDON, FRANCE, NAPOLEON III, CA THIRD THIRD OF THE 19TH...

Gueridon display case in polychrome and gilded bronze, France, Napoleon III period, towards the third third of the 19th century. The small circular table has a transparent glass top, which reveals the upholstered interior, and a waist decorated with classically inspired garlands on a gold background. The single leg of the piece of furniture rests on three curved legs, decorated with openwork circles and finished with claws. The quality, its simplicity of lines, and the decorative elements place the work in France, during the reign of Napoleon III (1808-1873).

· Size: 33x33x87 cms.
ANTIQUES
FURNITURE

Ref.: Z3090
TABLE FOR SPANISH DESK. PINE AND BEECH TREE WOOD, IRON. 18TH CENTURY.

Bargueñera table with Solomonic legs. Pine and beech wood, iron. 18th century. Table with a rectangular board made of pine wood and beech wood legs turned in the shape of Solomonic columns, which are joined, two by two, by a lower jamb also carved in Solomonic with a dado in the center, from which the curved iron fasteners emerge.

· Size: 148x58x78 cms.
ANTIQUES
FURNITURE

Ref.: Z4759
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BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1846.

Mortar with inscription. Bronze. Spain, 1846. A bronze mortar with an everted mouth and a truncated conical body that tapers continuously to the base. The piece bears an inscription (“soi de don Gregorio goia ano 1846”) in capital letters with spaces between them, and two areas with lines flanking the text at the top and bottom, referring to the owner of the mortar and the year it was made. Compare, for example, with the large pharmacy mortar in the Calella Municipal Museum-Archive (with an inscription, ribs, and human heads as handles), a large mortar in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, etc.

· Size: 25x25x30 cms.
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: Z5727
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SILVER FRUIT BOWL 18TH CENTURY .

Cordoban silver shield, 1759-1768. With marks. Weight: 820 g. Rococo-style silver salver, with hallmarks from Córdoba and the marker Bartolomé Gálvez y Aranda. It features a tall, stepped, circular base adorned with incised grooves and other simple, classical-style motifs, already announcing the shift in language toward Neoclassicism. However, the plate itself is still distinctly Rococo, with a profile of mitered curves that translate into sharp edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch seen here: his surname in capital letters, in a very horizontal trapezoidal frame and surmounted by a raised trilobed fleur-de-lis. Gálvez y Aranda added the chronological mark to this punch in 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing in the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only locally but throughout the Iberian Peninsula, even reaching the Canary Islands and Latin America. The widespread diffusion of Cordoban silversmithing took place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These figures acted as trade brokers, according to Pérez Grande, traveling to churches and fairs held throughout the country. The activity of these silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6259