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”CADRAN TOURNANT” CLOCK. BRONZE, MARBLE. AFTER AUGUSTIN PAJOU (FRANCE,...

Table clock "cadran tournant". Bronze, marble. Following models by Augustin Pajou (French, 1730-1809). Machinery in working order. Table clock composed of a stepped carved stone base decorated with classicist-inspired gilt bronze elements and raised on legs, and a gilt bronze composition with various mythological figures. To one side, a man of a certain age, bearded, holds up a scythe, and has a winged child on his back; on the other side of the sphere are two winged children, one with an arrow and the other with an hourglass and a torch. That aforementioned sphere contains the movement of the watch, with the hours and minutes arranged in two white stripes, with the system known as “cercles tournant” or “candran tournant”. The old man is Cronos (Greek god of Time who ended up assimilating to the Roman Saturn; certain errors or identifications with other deities ended up giving rise to the personification of time as "Father Time" as an old man with hourglasses, wings, scythe, etc.) , and appears accompanied by Eros (Roman Cupid; primordial god of sexual attraction, love and desire) with his arrows, and Hymenaeus (or Hymen, god of marriage ceremonies; holding a torch), who seems to have removed his hourglass to the god of Time. Thus, it could be said that this clock symbolizes the triumph of Love (legitimate or correct, hence the allusion to marriage) over Time, or that when love comes, time stops. It is necessary to compare this piece with a watch from the Halim Time & Glass Museum (Evanston, Illinois, United States) Louis XVI known as "The Triumph of Love Over Time", made in France circa 1780. The bronzes for this clock have been attributed to Étienne Martincourt, who used a design by the sculptor Augustin Pajou, and the machinery was the work of Gabriel Courieult (signature on the base). Several examples similar to this one are known, preserved in private collections. Mention should also be made of a table clock from the Wallace Collection in London in which this "Father Time" is patinated and not gilded and the piece stands on a porphyry base (inv. F264), dated around 1780 and also linked with the foundry Étienne Martincourt (act. 1763-1791) and the design of Augustin Pajou (1730-1809); It is said that this piece was possibly a version of another larger work commissioned by the Duchess of Mazarin. The present clock shows an iconography very similar to that of these examples, finding the same figures in both; however, there are a number of differences. Machinery in operation. Weight: 43 kg.

· Size: 32x25x68 cms
ANTIQUES

Ref.: ZE357
MANTEL CLOCK. BRONZE, MARBLE. MODEL FROM LENOIR-RAVRIO, LOUIS-SATINSLA...

Table clock, Apollo. Bronze, marble. Model of LENOIR-RAVRIO, Louis-Stanislas(1783-1846). Paris, around 1820. Table clock composed of a staggered rectangular base made of red veined marble and with gilt bronze elements of clear classicist influence (architectural motif molding, set of garlands and elements linked with lacework), and the area of the clock face, located on a pedestal with a step, seated on it is a patinated bronze figure representing the god Apollo (note the gilt bronze lyre in one hand). The dial, in gilt bronze with different finishes, has Roman numerals, Breguet-type hands, and the inscription “L. RAVRIO BRONZIER / A PARIS”, relating to the creator of the bronzes in the work. Louis-Stanislas Lenoir-Ravrio (Paris, 1783-Ivry, 1846), adoptive son of André-Antoine Ravrio (1759-1814), was one of the leading bronze players of his time (his father was too), and they worked together for a series of years (until 1814). It became part of the parental business, officially, in 1811, gaining great recognition for works in the Garde-Meuble and for his participation in International and National Exhibitions. Weight: 28kg

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZE345
CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Watch. Palo santo, rosewood, golden bronze. France, 19th century, modeled after Charles Cressent (French, 1685-1768). Floor clock with a wooden box in which palo santo, rosewood and others are combined, enhanced with a series of gilded bronze appliqués, which combine with the curved and counter-curved profiles of the piece. Both the decorative elements and those decorations respond to models of the 18th century French Rococo. This piece is inspired by the regulating clock from the royal collections of England that is located in Buckingham Palace and was made by Charles Cressent, a master cabinetmaker considered one of the main exponents of the French Rococo, although he made pieces in the Regency Style already beginnings of the “style rocaille”. A master sculptor since 1719, he worked as a cabinetmaker and sculptor for the Regent Philippe II Duke of Orléans, and is well known and appreciated for his clocks, chests of drawers, andirons (J. Paul Getty Museum), etc.

· Size: 81x40x232,5 cms
ANTIQUES

Ref.: ZE298
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FRENCH TABLE CLOCK ALLEGORY OF SCIENCES

French table clock with Allegory of Sciences. Belgian marble and gilt bronze. Brocot Ainé, Paris, France, 19th century. The white dial with Roman numerals features Breguet hands and part of the movement on view. It is housed in a protective glass, decorated with a band of pearls and highlighted with a magnificent vegetable decoration in gilt bronze that extends above and below. On the watch face you can read "Brocot Ainé Paris", alluding to the master responsible for its creation. The watch case is made of striking Belgian black marble, placed on four scrolled legs and with chamfered corners to accommodate more decorative bronzes. The choice of stone is determined by the magnificent result of contrasting gold and black. The so-called "Belgian marble" or "Noir Belge" refers to a type of limestone of that color extracted from various deposits in that country that was already known and used in Roman Antiquity but whose use was massive as a background for stone works. duras or intarsia of the Renaissance and later. Since the middle of the 20th century, its exploitation has been decreasing due to the progressive difficulty of accessing the few remaining veins of the material, and its use is now restricted to the most exclusive creations. At the top, two female figures flank a cloth-covered table on which are various books, documents, and a globe. The two ladies, dressed in robes and made of patinated bronze, represent the Sciences. Clocks of sculptural conception such as this used to be known as "French type" as opposed to English. The 18th century was the time when watchmaking combined the technical advances of that time with superb artistic works, characteristics that continued throughout the 19th century. It was common to choose works similar to this one to normally decorate fireplaces, but also tables and chests of drawers in palaces and important residences. Both the movements and the materials used to make these watches were expensive and required highly skilled labor, giving rise to authentic jewels. Allegories were a frequent theme in the decoration of sumptuary works of art in the 19th century, influenced by Neoclassicism. In general, minor divinities were chosen to decorate these elements of social distinction, hence the frequent appearance of "putti" or allegories of the arts or sciences or concepts such as time. · Measurements: 73x25x87 cm

· Size: 73x25x87 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6311
CLOCK AND CANDELABRA GARNITURE. BRONZE, MARBLE. RAINGO FRÈRES, AARIA, ...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. Working. Garnish composed of a table clock and two candelabras with three lights each, made of bronze and white marble. The candelabras have legs and a circular base with a gilt bronze band with floral elements, and a blued bronze child figure with garlands of branches and grapes on the head, holding branches with roses and leaves, which end in the lighters of the candles; They have the name “Clodion” engraved. The clock has an elongated base on white marble legs decorated with gilt bronze plates with figurative scenes (children playing instruments and carrying garlands) and others with plant motifs and lacework. The dial rises on a pedestal with animal heads, and, on a white background, it presents colored garlands and Arabic numerals for the hours and dots and Arabic numerals every fifteen for the minutes; you can read “Aaria” on it. The piece ends with a kneeling faun, in a pensive attitude and pointing to two doves. Flanking this central element are two blued bronze figures of children playing horns. On the Paris machinery you have you can read a number (448) and “Fres / Paris Range”. The two candelabras follow a model highly appreciated in the 19th century of a bronze figure of a bacchante (a common figure in the procession of the classical god Bacchus) made by Claude Michel (1738-Paris, 1814), known as Clodion. This French sculptor, invited to Russia by Catherine II, established a workshop in Paris where he specialized in small-format Rococo-style mythological sculpture in terracotta, stucco, etc., with such success that his works inspired numerous bronze artists to create of sculpture pieces, watches, etc. Raingo Frères is the association of the four sons of the Belgian-born watchmaker Zacharie Joseph Raingo (1775-1847), Adolphe, Charles, Denis and Dorsant, formed in 1823. During the 1860s they made important pieces for Napoleon III and his wife, which are preserved in the Louvre Museum in Paris. Thanks to their well-deserved fame, they collaborated with prominent bronze artists and sculptors of their time, such as Albert-Ernest Carrier-Belleuse and Auguste Moreau, and won a Gold Medal at the Universal Exhibition in Paris in 1889. Weight: 33.5 kg.

· Size: Reloj 46x12x55 cms. Candelabros: 30x17x43 cms.
ANTIQUES

Ref.: ZF1040
SET OF MANTLE CLOCK AND CANDELABRA. GILT BRONZE, MARBLE. POCHON, JEAN-...

Louis XVI clock garrison and chandeliers. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, around 1780 or 1790 and the 19th century. Bibliography: (watch) NIEHÜSER, Elke. “Die französische Bronzeuhr. Eine Typologie der figürlichen Darstellungen”. Callwey, 1997. P. 131. Garnish composed of a table clock with Paris machinery and two candelabras with three lights each, made of white marble and gilt bronze. The clock has a rectangular base with the central area protruding to the front and raised on four legs, further enhanced with plant elements (garlands, leaves, scrolls, etc.) and architectural elements with a marked classicist taste and a relief frieze with children in various attitudes located in an idyllic landscape with architecture in the background. The dial is white, with Arabic numerals for the hours and Arabic dots and numerals every fifteen for the minutes, with a flowery hour hand and a highly decorated minute hand. It is finished off by a composition of flowers, fruits, leaves, garlands and a bow enhancing some arrows and a lit torch; on the sides are Cupid with his bow and a female figure who, most likely, is the goddess Venus. The two chandeliers, each with three lights, have a circular marble base raised on legs and enhanced with a string of gilt bronze pearls, a material from which the leaves and stems are also made, which, intertwining, create each of the three arms, which end in lighters with saucers decorated with raised leaves and strings of pearls. On the dial appears writing "Pochon" and "Paris", alluding to the place of manufacture of the movement (Paris machinery). Jean-Charles Pochon achieved the degree of master watchmaker around 1775, and is considered one of the leading watchmakers of the last third of the 18th century in his field in the French capital. His works are preserved in some private collections of great importance, such as the so-called “Liechtenstein. The princely collections, Vaduz-Vienna”, and institutions such as the Museum of Decorative Arts in Paris (France). It is possible that the machinery or movement is from the 19th century. In the case of the watch (the case itself), examples similar to the present are known in private collections, since the bronzes come from a Parisian workshop. It is known as “L'Amour drobe par ses armes” or “Amor Wird Seiner Waffen Beraubt” (Cupid is stripped of his weapons) due to the iconographic theme it shows. As for the chandeliers, they are reminiscent of Louis XV-style pieces in some details, such as playing with the leaves to create the shape of the pieces, but they also present elements more similar to Neoclassical-style works (the lighters and their decoration). Total weight: 20.35 kg.

· Size: Reloj: 30x12x45 cms. Cand. 17x17x28 cms.
ANTIQUES

Ref.: ZE348
BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Table clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. Working. Table clock with Paris machinery in working order that has a rectangular light marble base with the front slightly forward to allow space for the clock case. It has a white dial, Louis XVI type hands and Roman numerals for the hours and Arabic numerals five by five for the minutes. This part is sheltered in a golden marble pedestal, which has a base of Greek fretwork resembling waves, a laurel wreath and, on the sides, some books, an overturned vase with flowers and an arch; above, plant elements and a bow. In the upper part there is a gilt bronze rooster, and, holding the animal, appears a cupid (note the bow that would link him to the god of love Cupid) or a blued bronze cherub, thus creating a marked contrast. A few examples similar to the present one are known in European private collections, since it was a highly prized model of which the French workshops specialized in this type of piece created some variants for watchmakers who requested them. There is also another model without a rooster and with the angel lying down, very similar to the present one, of which porcelain examples created in Meissen are also known.

· Size: 35x15x40 cms
ANTIQUES

Ref.: ZF1036
MANTEL CLOCK, DIANA. GILT BRONZE. FRANCE, 19TH CENTURY.

Table clock with Paris machinery, Diana the Huntress. Gilded bronze, metal. France, 19th century. Table clock with Paris machinery and gilt bronze case (probably mercury), composed of a rectangular base elevated on legs decorated on the front with architectural and plant elements, and a body of the same shape enhanced with bands of architectural motifs of clear influence classicist The sphere is located on it, within a shape that resembles rocks; In it lies a young female figure, reclining, dressed in a short tunic and accompanied by a bow at her side; On the other side of the sphere a hunting dog appears, raising its head towards the girl. The metal dial has Roman numerals for the hours and lines for the minutes. This is a common theme in French table clocks since the Empire era. Diana the Huntress appears with a bow, and almost always accompanied by a dog. Sometimes the set is completed by adding deer or other animals. Likewise, and as is common in French bronzes of the period, there are known table clocks with a sculptural arrangement similar to the present one (one, in a private collection and from the Charles X period, has blued bronze figures, for example) . Weight: 14.25 kg.

· Size: 43,5x5,5x64 cms
ANTIQUES

Ref.: ZE353
MANTLE CLOCK. BRONZE, MARBLE. 19TH CENTURY.

Table clock. Marble and bronze. XIX century. Table clock with Paris machinery with a case made of marble and bronze and with applications of porcelain plates with scenes of rococo memory. The white dial features an inscription (Hoffman Fres. / Rues des enfans rouges 4. / A Paris) and Roman numerals for the hours. Above it is a male figure accompanied by an anchor. The staggered base is decorated with gilt bronze elements of clear classicist reminiscence and the mentioned plaques. Porcelain decoration is a possible adaptation. machinery in operation Weight: 30 kg.

· Size: 49x22x71 cms
ANTIQUES

Ref.: ZE286
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Ormolu. XIX century. Table clock made in gilt bronze with a powerful base, enhanced with legs decorated with classicist-inspired plant and architectural motifs and a series of details on the front (scrolls in the chamfered corners, scrolls and a center with a globe that radiates light and a scroll, with inscriptions on both), as well as bands of simple architectural elements and smooth spaces to enhance these decorations. On this pedestal, a parchment has been placed for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area stands a male figure, dressed in costumes reminiscent of the Renaissance, holding a drawn sword; In addition, a series of elements have been placed on the part of the sphere (a globe, documents with texts in French italics, etc.). The allusion to the sciences is clear when presenting in such a prominent point the documents with the respective texts and the sphere. The detail of the sword refers to the war. Thus, it would be a figure that would unite wisdom and action, uniting both in the gentleman of a certain age, as it should be in a ruler or people of a certain social class. The best examples of bronze table clocks were made in France during the 19th century, or so it was considered. This is due to the care with which the manufacture of applications and elements in bronze was organized and legislated, the technique of gilded bronze with mercury, and the participation in the creation process of first-class artists who were in charge of the designs of the figures. and decorative motifs (also, it was not strange to make figures inspired by or more directly copying great works from the History of Art). The resulting clocks were highly appreciated, being used to decorate the interiors of palaces and prominent residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
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GILT BRONZE CLOCK. 19TH CENTURY. IN WORKING ORDER.

Table clock. Ormolu. XIX century. Machinery in working order. Table clock with a case made of gilded bronze, and Paris machinery in working order. The base rises on legs decorated with plant and architectural elements of clear classicist influence, which is also present in the motifs that decorate the rectangular area of this area. The figures, a young couple seated on a rock formation with plants and ruined classical elements, appear dressed in 19th-century fashion (note in particular the fineness of the lady's mantilla). The dial presents Roman numerals for the hours and lines for the minutes, and a plant decoration around it; on the back, a transparent glass plate allows you to see the machinery. Compare with pieces like the one dated in the mid-nineteenth century, entitled "La Müsica", which is in the Museum of Romanticism (Madrid); or the one signed by Le Roy & Fils (from Paris), from the first half of the 19th century, from the Cerralbo Museum in Madrid (Salón de Confianza); and others preserved in private collections. In general, French bronze clocks from the 19th century are considered outstanding pieces (especially in terms of the cases), due to the care taken by the government to organize and legislate the manufacture of applications and elements in bronze, the technique of mercury-gilt bronze, and the participation in the creation process of first-rate artists who were in charge of the designs of the figures and decorative motifs (also, it was not uncommon to make figures inspired by or more directly copying great works of Art History). The resulting clocks were highly appreciated, being used to decorate the interiors of palaces and prominent residences. Due to this, in the rest of Europe, the inspiration in these examples for the creation of pieces was frequent. Weight: 18 kg.

· Size: 48x16x58 cms
ANTIQUES

Ref.: ZF0673
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WALL CLOCK WITH MUSIC BOX, 19TH CENTURY.

Wall clock in carved wood with metal record music box, 19th century. Clock divided into two parts: the upper part, flanked by columns on moldings, has a dial with Roman numerals and a play of colors in silver and gold with engraved details reminiscent of Gothic models; the lower one, flanked by pilasters and with a plant motif inspired by Baroque works, has a door that hides the pendulum and the music box mechanism. The mixture of decorative styles in the work is characteristic of 19th century furniture, a time when the music box would be a highly important technological novelty. Soneria and music box in operation.

· Size: 37x22x95 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z3152
POCKET WATCH, DEROCHES. METAL, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH C...

Pocket watch, Deroches Brothers. Gilded metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a part with transparent glass and a composition on enamels on the back (two ladies, with a score on a music stand and one of them playing a harp). The white dial has Arabic numerals for the hours and vertical lines and Arabic numerals every 15 units for the minutes, and the text “Deroches”. The machinery has a delicate decoration and, engravings, a serial number and the name Deroches”. Similar pocket watches signed by the Deroches Brothers dated to the second half of the 18th century and examples of “Frères Deroches & Cìa.” of the 19th century.

· Size: 6.5x5x3 cms.
ANTIQUES

Ref.: ZE327
LZ MAURIN POCKET WATCH. METAL, ENAMEL, ETC. 19TH CENTURY.

Pocket watch, Lz MAURIN. Gilded metal, enamels, etc. XIX century. Pocket watch with a white dial with Roman numerals for the hours and, for the minutes, Roman numerals every fifteen and vertical lines for the rest, and the inscription “Lz. Maurin”; The movement presents a delicate decoration and, engraved, Lz Maurin. The box that it presents is decorated, on the back, with a figurative composition of a couple, and presents a number and the word Lepon engraved inside.

· Size: 7x5x2,5 cms
ANTIQUES

Ref.: ZE329
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the last third of the 18th century. Has faults. Pocket watch in a case decorated with enamels on the back (within a pearl band you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and in Arabic for the minutes and in which the text Adré Hessen can be seen. The finely decorated movement features a numeral (549) and the name Adré Hessen (1745-1805), a watchmaker who established himself in Paris, France, in 1767 and was highly recognized and appreciated in his day.

· Size: 7x5x1.5 cms.
ANTIQUES

Ref.: ZE326
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The dial, in white, has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs on the back. that there is a hole to see the pendulum, which is highlighted by a decoration in gilded metal. The Henry II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance in this country, making a series of furniture with the type of decoration that we see in the present work. It was so successful that it was recovered in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z0484
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly towards the end of the 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it presents, on the back, an architectural decoration with a clear classicist influence.

· Size: 6x5x1.5 cms
ANTIQUES

Ref.: ZE328
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Garnish in gilt bronze and white marble, Louis XVI style, 19th century. Composed of two glasses on pedestals and a clock. The first ones are the same: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above, a tall-stemmed cup decorated with two handles in the shape of vegetable stems. The clock stands on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; Highlighted by two branches with flowers attached to each other, it has a white dial and Arabic numerals, as well as Louis XVI hands and is topped by a vase. The pendulum of the clock, which has been given the shape of the sun, appears between the columns and the decorative chains. The French style called Louis XVI is characterized by its inspiration in classicism and covers, approximately, from 1760 to 1789. In the 19th century, numerous artistic movements of the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with with the Neoclassicism of the moment.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6190
CLOCK WITH BELL GLASS. BRONZE, WOOD. 19TH CENTURY.

Table clock with fanal. Bronze, wood, glass. XIX century. Table clock with a base enhanced thanks to a series of gilt bronzes in a marked Renaissance and Classicist style that has a rocky top (where the white dial is located, with Roman numerals), on which a young man leans, who looks up at a vine with bunches of grapes. The clock is protected by a glass lantern with a wooden base decorated with marquetry in a light tone, with floral and plant themes.

· Size: 40x20x27 cms. reloj 33x13x45 cms.
ANTIQUES

Ref.: ZF0941
POCKET WATCH, FRÈRES ESQUIVILLON & DE CHOUDENS (CA. 1765-1830). PARIS,...

Pocket watch, Frères Esquivillon & De Choudens (ca. 1765-1830). Paris, France, 19th century. Saboneta-type pocket watch with the exterior decorated in enamels (architectural composition with a certain exotic air) and white dial with numerals in Romans for the hours and in Arabic numerals every five for the minutes, and an inscription relating to its origin (it refers to the same a series of engravings on the machinery). "Frères Esquivillon & De Choudens" worked in Paris between around 1765 and 1830, creating highly valued pieces that are currently preserved in numerous private collections and in institutions such as the Metropolitan Museum in New York.

· Size: 6x1x6 cms.
ANTIQUES

Ref.: Z2298
PORCELAIN CLOCK. LENZKIRCH, GERMANY, LATE 19TH CENTURY.

Clock. Porcelain, metal, glass. Lenzkirch, Germany, late 19th century. Has damage, figure arm. Table clock with Lenzkirch marked machinery, white dial with Roman numerals for the hours and Arabic numerals every five for the minutes. The multicolored glazed porcelain body is reminiscent of Meissen models due to its shapes, colors and composition, also showing the influence of eighteenth-century European factories. The Lenzkirch Uhrenfabrik was known, from almost the beginning of its history (complete production from 1860 to 1932) for its high quality, both in the movement of the watches and in their cases, of various styles and materials, becoming leading German watchmakers. Weight: 5.75 kg.

· Size: 30x20x42 cms.
ANTIQUES

Ref.: ZF1149