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GARNITURE. GILT BRONZE. HENRI PICARD, VICTOR PAILLARD. PARIS, FRANCE, ...

Garrison, clock, and two candlesticks. Gilt bronze. Henri Picard and Victor Paillard. Paris, France, 1831–1864. With marks (base, back). Gilt bronze fittings composed of a clock and two four-light candelabras each, accompanied by flowers, with plain bases and vase-shaped feet of strong Classicist inspiration, decorated with reliefs (fauns, children's figures, garlands, grotesque heads, etc.). The clock has two female figures (allegories of Geography and Astronomy due to the objects they carry) flanking a vase containing the dial, which features Roman numerals for the hours and Arabic numerals every five minutes, in addition to the signature. The Paris-type movement features an engraved number and a stamp (Vr. Paillard / A. Paris). On the base of the clock, on the back, is engraved the legend H. Picard, referring to the founder and gilder Henri Picard (France, active 1831–1864), who worked for Defreveille and also collaborated with Charles Perrault and Grault. He produced numerous works for Napoleon III, many of which are preserved in the Louvre Museum in Paris. The dial reads "Victor Paillard / Ft de Bronzes / A Paris". Victor Paillard (1805-1886) was a French sculptor who furthered his training in Paris with Jean-François Denière, also collaborating with Ferdinand Barbedienne. In 1830, he founded a successful firm of movable art objects, which received state commissions (notably for the Palau d'Afers Exteriors du Quiai d'Orsay). There are records of other clocks like this one: one by the bronze artist Étienne Martincourt with a dial signed "Lepaute à Paris"; another identical to this one, now in the Paul Getty Museum in Malibu (California, USA), from the Tuileries; and yet another with a dial signed by Victor Paillard. As for the model of the vases, they seem to have been inspired by some, truly popular and appreciated, by Claude Michel (Clodion firm), who produced an original in terracotta in 1763, on which numerous pieces in bronze and other materials were based (a pair in marble is kept at the Art Institute of Chicago, dated 1766; in the Goncourt Collection there is one dated 1761 or 1762; a pair of candlesticks with these bases are known, attributed to Barbedienne, etc.). In turn, it seems that Clodion was inspired by some vases by François Boucher. Weight: 57 kg.

· Size: Reloj 60x27x72 cms Candelabros 32x25x83 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1399
ARAB MAN. FRAMED DRAWING. POSSIBLY SPANISH SCHOOL, 1963.

Arab man. Framed drawing. Possibly Spanish school, 1963. Signed and dated (lower right). Marks present. Framed drawing showing an elderly man wearing a turban covering his hair. It is signed and dated (63) in the lower right corner. Both its style and subject matter clearly show the influence of the Orientalist movement that prevailed in various European schools of painting during the 19th century.

· Size: 25x2x34 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF136825
CHILD JESUS SAVIOUR OF THE WORLD, HISPANO-PHILIPPINE. IVORY. 17TH CENT...

Infant Jesus of the Globe. Ivory. Hispano-Philippine School, 17th century. The Christ Child, carved from polychrome ivory in certain areas, rests on a carved and gilded wooden base. The base features pronounced curves and movement, and a carefully crafted decoration of plant motifs. Iconographically, this figure of the Christ Child standing, holding the Orb of Creation in one hand and blessing with the other, is known as the "Child with the Orb," and it has a strong connection to the Salvator Mundi, known from paintings such as Leonardo da Vinci's, but already quite common by the end of the European Middle Ages (the adult Salvator Mundi appeared in Northern Europe in the second half of the 14th century). This particular piece reflects the popularization of numerous iconographies of the Christ Child during the Baroque period. Nudity is common in this type of sculpture, as these works were intended to be clothed and adorned with velvets, silks, embroidery, silver, and so on. Aesthetically, it is related to examples of the 17th-century Spanish Baroque school. Note the hairstyle, which has a slight resemblance to the works of Martínez Montañés, to name one. Compare, for example, with the Children preserved in the "Ivory Room" of the Museum of Mexican History in Monterrey (Nuevo León, Mexico), or with the 17th-century Filipino ivory Child Jesus in the Museum of the Americas in Madrid, or the 18th-century Hispano-Filipino Child Jesus from the Patricia Phelps de Cisneros Collection, housed in the Middlebury College Museum of Art (Vermont, United States). Religious carvings made of ivory were doubly valued for the prestige and richness of the material and for their subject matter in an era like the Baroque, which, like all periods, was focused on the defense of Catholicism in some areas and eager to display power and influence. In this particular case, the "exotic" factor must also be considered, as it is a Hispano-Philippine piece: alongside the Peninsular influence, the "touch" of Filipino artists (Chinese settlers on the islands, local artists, etc.) can be seen in these works, with their somewhat slanted eyes, prominent eyelids, and other features. While these sculptures were sometimes commissioned for private chapels of the upper classes of the time, they have frequently been preserved in important religious centers, where they have been found as donations. It has CITES certification. Valid for the European Union.

· Size: 11x11x29 cms. Altura niño 20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0601
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
SAINT JEROME. OIL ON BOARD. CIRCLE OF WILLEM KEY, 16TH CENTURY.

Saint Jerome. Oil on slatted panel. Surroundings of KEY, Willem. 16th century. With monogram (illegible) and dated (right ear of the saint). Oil on oak panel showing a thin, elderly male figure, dressed from the waist down in cloth, sitting on a stone bench on which a skull and a scroll of parchment appear, along with other elements. To the right of the composition, a cloth can be seen in the background, a crucified Christ on a book, a red cap on a wall, placed on a closed book and a mechanical pencil; below, a lion. Eusebius Hieronymus (c. 340-420), better known as Saint Jerome or Saint Jerome of Stridon, was a Christian saint and Father of the Church, who translated the Bible from Hebrew and Greek into Latin at the request of Pope Damasus I (called The Vulgate, declared in 1546, at the Council of Trent, to be the authentic edition for the Latin Catholic Church). He is usually represented as in the present panel because of his desire during his life to live in asceticism and do penance for his sins. The lion is the beast that he rescued while meditating on the banks of the Jordan River and that never left the saint's side again. In the area of the saint's right ear there is an inscription, which seems to be a monogram with a date (possibly 1576). The present panel is related to the circle of Willem Key (Breda, 1516-Antwerp, 1568), a Flemish Renaissance painter specialising in portraits who, like his brother Wouters, trained in Antwerp (he with Pieter Coecke). Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to his portraits and historical paintings, painted with a learned hand according to Lamposonio's verses on his portrait. His religious paintings were also highly appreciated. His work is preserved by important institutions such as the Dordrecht Museum, the collection of the House of Alba, the Rijksmuseum in Amsterdam, etc.

· Size: 125x5x120 cms. / Int 104x99 cms.
ANTIQUES
PAINTINGS

Ref.: ZF126
BRONZE OINOCHOE. POSSIBLY ITALY, 19TH CENTURY.

Oinochoe. Bronze. Possibly Italy, 19th century. An oenochoe, oinochoe, oinochoe or oenochoe is a vessel used to draw wine from a krater (where it was stored) before serving in ancient Greece. Its heyday was during the Geometric period and various types are distinguished according to the shape of the mouth and the belly. Most Greek oenochoes were made of terracotta, but there are also some made of precious metals, presumably for the social classes that could afford them, although very few have survived. The present example seems to be inspired by ancient works (compare one in the Metropolitan Museum from around 460 BC with inventory number 1970.11.1 and another in the Museum of Fine Arts, Budapest with inventory number 66.142.A).

· Size: 12x12x20 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1390
HUNTERS, PAIR OF PLAQUES. PORCELAIN.

Hunters, pair of panels. Porcelain. Possibly Germany, 19th century. Pair of wall plaques with metal pieces to hang on the top and a polychrome figurative decoration on the front, in relief. One shows a horseman dressed in furs, accompanied by a fox (probably), and the other shows a woman, also on horseback, hunting a feline (possibly a tiger). Their style is reminiscent of porcelain pieces made in Meissen in the 19th century.

· Size: 31x31x6 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1387
GARNITURE, MANTEL CLOCK AND TWO CANDELABRA. BRONZE, MARBLE. FRANCE, 19...

Garniture, table clock, and candlesticks. Bronze, marble. Modeled after Clodion. France, 19th century. A set consisting of a table clock with Paris movement and two two-light candelabras, made of white marble and gilded and burnished bronze. The clock features a raised stone base with legs and a string of pearls, and the dial (with Arabic numerals and colored garlands; Arabic numerals every fifteen minutes) is contained within an architectural structure accompanied by a torch, a vase (part marble and part bronze), and an arch. The frame features a semi-nude child figure hugging a rooster. The candelabras, with circular bases, legs, and pearls, each feature a figure (a child with a flower garland on his head and a faun) holding two branches with their arms, each ending in the candlestick holders. The two candelabras, featuring the figures of a satyr and Bacchus, or bacchante, are inspired by pieces created by Claude Michel (1738-Paris, 1814; also known as Clodion), a French sculptor renowned for his work, having received awards such as the Grand Prix for Sculpture from the Academie Royale in 1759 and the Prix de Rome in 1762. The satyr in this pair closely follows the master's models (compare Satyr Running with an Owl, made between 1770 and 1780, Cleveland Museum of Art), and several examples of candelabras with figures like this pair are known (with variations in the lights and bases). The Cupid on the table clock is also inspired by reliefs and sculptures by Clodion, but what is striking about this garnish is that, according to the surviving sets, it is unusual to combine the candlesticks with these figures with the clock itself in the same set. Total weight: 27 kg.

· Size: 35x15x39 cms. Candelabros 23x15x40 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1381
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory or Venus with Cupids. Oil on canvas. Surroundings of BOUCHER, François (Paris, 1703-1770). The scene features an idyllic natural landscape in the background, with trees to the left and an open horizon to the right, revealing orange clouds alluding to a sunset over rocky mountains. In the foreground, a young woman reclins, dressed in a white tunic, red skirt, and blue cloak, with a red ribbon in her gathered hair. To her left are two cupids or cherubs, one holding a garland of flowers and the other seemingly grasping the young woman's cloak. Iconographically, it could be Venus, although the goddess is more commonly depicted semi-nude or fully nude, so it's also possible that it's an allegory (given the crown of flowers, perhaps representing Spring). Or, being a Rococo painting, it could allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting belongs to the circle of François Boucher, a French painter considered one of the most important figures of the galant style within the Rococo movement. He was highly regarded for his idyllic paintings, the voluptuousness of his technique, his mythological, allegorical, and pastoral works, and for several portraits of Madame de Pompadour. He sought a highly detailed finish in his works, employing a somewhat distinctive palette. After a rather eventful apprenticeship, he won the Prix de Rome in 1723 (which he was unable to enjoy due to lack of funds until four years later). Upon his return, he joined the Royal Academy of Painting and Sculpture, eventually becoming its rector, and also directed the Royal Gobelins Tapestry Factory, being appointed First Painter to the King in 1765. In addition to paintings, usually small-format, he also produced book illustrations, designed costumes and theatrical sets, tapestries, porcelain, and more. His work is preserved in institutions such as the Alte Pinakothek in Munich, the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid, the Metropolitan Museum of New York, etc.

· Size: 87x4x123 cms / int. 67x103 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1127
POSTER, J. LEÑA RENDÓN & CIA., JEREZ DE LA FRONTERA. BERLIN, FIRST HAL...

Advertising poster, J. Leña Rendon y Cia., Warehousemen and Exporters of Wines and Cognacs, Jerez de la Frontera. Cardboard. Berlin, first half of the 20th century. Poster made in Berlin, Germany, by Manes & Co. J. Leña Rendón & Cia. was founded in 1885 and was known at the time for Gayarre cognac, among other specialties. It is mentioned in the Review of Jerez Wineries by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900).

· Size: 34x0,1x30 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135427
POSTER, J. LEÑA-RENDÓN & CIA., JEREZ DE LA FRONTERA. BERLIN, FIRST HAL...

Advertising poster, J. Leña-Rendon & Co., Exporters of Fine Wines and Grape Cognacs, Jerez de la Frontera. Cardboard. Berlin, first half of the 20th century. J. Leña Rendón & Cia. was founded in 1885 and has been known ever since for Gayarre Cognac, which is also mentioned on the poster. It is mentioned in the Review of Jerez Wineries by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900). The poster was made in Berlin, Germany, by Manes & Co.

· Size: 29x0,1x43,5 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135425
POSTER, A. DELEYTO Y CIA., JEREZ DE LA FRONTERA. CARDBOARD, PAPER. BER...

Advertising poster, A. Deleyto y Cia., Warehousemen and Exporters of Wines and Cognacs, Jerez de la Frontera. Paper, cardboard. Berlin, first half of the 20th century. It is mentioned in the Review of Jerez Wineries by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900), which indicates that it was founded in 1890 and that its export business at this time focused on the Americas (particularly Mexico) and Europe (Hamburg, Germany, Sweden and Norway), in addition to highlighting specialties also named in the poster (San Quintín, Amontillado Deleyto, Jerez Tonic). It was produced by Manes & Co. in Berlin.

· Size: 27,5x0,1x40 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135426
POSTER, JOSÉ DE SOTO, JEREZ. CARDBOARD. BERLIN, FIRST HALF 20TH CENTUR...

Advertising poster, José de Soto, Jerez. Cardboard. Berlin, first half of the 20th century. It has marks. Advertising poster created in Berlin, Germany, by Kunstdruck Friedberg for the Spanish sherry wine company José de Soto. It is mentioned in R. Mena y Sobrino's Reseña de Bodegas de Jerez (Jerez, Litografía Jerezana Vicario, 1900), with various details (hectares of vineyards, wineries, specialties, etc.) but without mentioning the foundation.

· Size: 29x0,1x29 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135428
POSTER, LA ESTRELLA (COFFEE). SPAIN, EARLY 20TH CENTURY.

Advertising poster, Café La Estrella. Cardboard. Spain, circa early 20th century. It has faults. Advertising poster for a well-known coffee brand, La Estrella, with a curious slogan referring to its aroma. La Estrella was founded in 1887 in Badajoz by José Gómez Tejedor, who obtained the patent for roasted coffee in Spain in 1901. He developed and registered a Cuban trick used by miners: wrapping coffee beans in sugar to preserve them. His technique of fixing the aroma during roasting transformed coffee consumption, as previously the aroma could not be preserved and coffee had to be roasted in the same place where it was consumed.

· Size: 12,5x0,1x37 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135431
FRAME. WOOD. 18TH CENTURY.

Frame. Wood. 18th century. It has faults and damages. Rectangular frame made of carved wood and decorated on the front with fine mouldings and curved extensions at the corners, in which plant and architectural motifs with a strong classicist influence can also be seen.

· Size: 51,5x3x69 cms. Int 43x62 cms
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: ZF136805
POSTER, POMAR Y REYES, JEREZ DE LA FRONTERA. CARDBOARD. BERLIN, FIRST ...

Advertising poster, Pomar y Reyes, Exporters of Wines, Cognac, and Spirits, Jerez de la Frontera. Cardboard. Berlin, first half of the 20th century. There is evidence of the existence of Pomar y Reyes on Zaragoza Street in Cádiz (page 2001, Yearbook of Commerce, Industry, Judiciary and Administration: (Bailly, Baillière, Riera), volume 1910). The poster was made in Berlin (Germany) by the Kunstdruck Friedberg workshop.

· Size: 51x0,1x40 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135411
POSTER, MIGUEL DE MORALES Y MORALES, JEREZ DE LA FRONTERA. CARDBOARD. ...

Advertising poster, Miguel de Morales y Morales (etc.), Jerez de la Frontera. Cardboard. Valencia, first half of the 20th century. Advertising poster made in Valencia by Lit. S. Durá for, as the text indicates, “Miguel de Morales y Morales, / Grower, Warehouseman and Exporter / of / Wines, Spirits and Cognacs / Specialties: / Abuelo and Solera Ubreva / Jerez de la Frontera), which was also a registered trademark. José Ubreva opened his wineries in 1800 for export, and ended up running the business, under his name, Miguel de Morales y Morales (Arcos, 1826), who married Caetana Ubreva Bardayo (1840-1920), inheriting these wineries. The company is mentioned in the Review of Jerez Wineries by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900). In the Statutes of the Guild Association of Breeders-Exporters of Jerez Wines from the Frontera (Jerez, Typographic Workshops: Plaza del Carmen, 1, 1921) Manuel de Morales is mentioned.

· Size: 37x0,1x53 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135415
POSTER, VIUDA DE JOSÉ MARÍA DE MORALES, JEREZ. CARDBOARD. POSSIBLY SPA...

Advertising poster, Widow of José María de Morales, Fine Wines and Cognac, Jerez. Cardboard. Possibly Spain, first half of the 20th century. Advertising poster for the Casa Viuda de José María de Morales, highlighting its product with a very concise text (Fine Wines and Cognac / Jerez). José María de Morales, son of Miguel Morales and Cayetana Ubreva, owned a winery and died at the age of 38. His widow ran the business until 1909. There is evidence of a photograph entitled "Interior of the extraction and bottling cellar of the Casa Viuda de José María de Morales, Jerez, managed by Mr. Aureliano Valenzuela Pérez," dated January 6, 1908, which would have appeared in the newspaper ABC.

· Size: 37x0,1x51 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135416
POSTER, JOSÉ MARÍA DE MORALES, JEREZ DE LA FRONTERA. CARDBOARD. BERLIN...

Advertising poster, José María de Morales, Wine Exporter, Jerez. Cardboard. Berlin, first half of the 20th century. It has some marks. Miguel Morales y Morales (Arcos 1826) and Cayetana Ubreva Bardayo (1840-1920) were the parents of José María de Morales, who had nine siblings and a winery mainly used for storage on Ávila Street in Jerez. He was best known for the brandy called “Uno, Dos y Tres Racimos” and died at the age of 38, although his widow kept the business going until 1909. There is a record of a photograph entitled “Interior of the extraction and bottling winery of the widow's house of José María de Morales, Jerez, Directed by Mr. D. Aureliano Valenzuela Pérez”, dated January 6, 1908, which would have appeared in the newspaper ABC.

· Size: 30x0,1x53 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135418
POSTER, MOLINA Y CIA., JEREZ DE LA FRONTERA. CARDBOARD, FIRST HALF 20T...

Advertising poster, Molina y Cia, Jerez de la Frontera, Exporters of wines, cognac-style spirits, and liqueurs. Cardboard. Berlin, first half of the 20th century. Advertising poster made in Berlin for the Molina y Cía. company. José María Molina y Lamata worked at Bodegas Misa before establishing his own winery in 1870, achieving great international success. In 1884, he joined forces with Servando Álvarez Algeciras, moving to Clavel Street, to a complex consisting of three wineries with the most notable technological innovations of the time. The company reached its peak between the late 19th and early 20th centuries. José María Molina died around 1908, and Servando bought the house, later selling it to Emilio Hidalgo.

· Size: 25x0,1x42 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135422
POSTER, J. LEÑA-RENDÓN & CIA., JEREZ DE LA FRONTERA. POSSIBLY SPAIN, F...

Advertising poster, J. Leña-Rendón & Cia. Wine and Cognac Exporters, Jerez de la Frontera. Cardboard. Possibly Spain, first half of the 20th century. It has marks. Advertising poster for the company J. Leña Rendón & Cia. Storers and Shippers of Fine Wines and Cognacs, Jerez de la Frontera, founded in 1885 and known at the time for Gayarre Cognac, among other specialties. It is mentioned in the Review of Jerez Wineries by R. Mena y Sobrino (Jerez, Lithograph by Vicario, 1900).

· Size: 38x0,1x33 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135414
POSTER, J. LEÑA RENDÓN & CIA., JEREZ DE LA FRONTERA. SPAIN, FIRST HALF...

Advertising poster, J. Leña Rendon y Cia., Warehousemen and Exporters of Wines and Cognac, Jerez de la Frontera. Cardboard. First half of the 20th century. Curiously, the photograph of the lady also appears (or may have come from here) on a postcard (series 35, No. 8) from the Universal Postal Union, an organization created in 1874 (with this name in 1878). J. Leña Rendón & Cia. was founded in 1885 and was known at the time for Gayarre cognac, among other specialties. It is mentioned in the Reseña de Bodegas de Jerez by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900).

· Size: 20x0,1x45 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135419
POSTER, J. LEÑA RENDÓN & CIA., JEREZ DE LA FRONTERA. BERLIN, FIRST HAL...

Advertising poster, J. Leña Rendon y Cia., Jerez de la Frontera, Fine Wines, Grape Cognacs. Cardboard. Berlin, first half of the 20th century. It has faults. Curiously, the photograph of the lady also appears (or may have come from here) on a postcard (BKWI No. 886-32, circa 1910) from the Universal Postal Union, an organization created in 1874 (with this name in 1878). J. Leña Rendón & Cia. was founded in 1885 and was known at the time for Gayarre cognac, among other specialties. It is mentioned in the Reseña de Bodegas de Jerez by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900). The poster was made by Manes & Co. in Berlin (Germany), as indicated.

· Size: 20x0,1x45 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135420
POSTER, J. RUIZ & CIA., JEREZ. CARDBOARD. BERLIN, FIRST HALF 20TH CENT...

Advertising poster, J. Ruiz y Cia., Spanish Punch, Wines and Cognac, Jerez de la Frontera. Cardboard. Possibly Spain, first half of the 20th century. It shows damage. Advertising poster made in Berlin by the Kunstdruck Friedberg workshop of the company J. Ruiz & Cía., which specialized in wines and cognacs, as indicated in the text, but known, above all, for its Spanish punch. This information is also provided in the Reseña de Bodegas de Jerez by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900), which indicates that the house was founded in 1869. It is also mentioned in the Statutes of the Guild Association of Breeders-Exporters of Jerez Wines from the Frontera (Jerez, Talleres Tipográficos: Plaza del Carmen, 1, 1921).

· Size: 22x0,1x27 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135421