Results 1 to 24 of 1577

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MARQUETRY AND BRONZE SHOWCASE. FRENCH SCHOOL, 19TH CENTURY.

Louis XVI style display case. Wood, gilt bronze, etc. French School, 19th century. A wooden display case decorated with marquetry plaques with figurative motifs in the lower area and gilt bronze appliqués. It has three glass fronts that reveal the interior. It is upholstered in red textile and has two glass shelves. These marquetry scenes depict figures in landscapes, reminiscent of oriental works. The bronze appliqués and the "bombé" shape of the lower area demonstrate Rococo influences. The Louis XVI style is considered, in France, a movement within Neoclassicism and spans from around 1760 to around 1789 (although works inspired by it would be created in the 19th century). It was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. In the French school, the style that presents Rococo influences is known as Louis XV, and it also inspires works in the 19th century, which receive the same name.

· Size: 43x63x172 cms.
ANTIQUES

Ref.: ZF0656
TRITONS AND NEREIDS. PAINTING, GLASS. POSSIBLY ITALIAN SCHOOL, LATE 16...

Tritons defending Nereids. Oil on glass (reverse). Possibly Italian school (perhaps Naples), late 16th-17th century. Framed glass plate with a painting, probably an oil painting, beneath it. A landscape can be seen in the background and a series of figures in the foreground, from the waist up. A man is holding two women on the right, while, on the left, two semi-nude male figures appear attacking a sea monster (very similar to those inspired by ancient Roman works, common in painting since the Renaissance). It is first necessary to differentiate between two painting techniques that employ glass: one that uses it as a base, such as a canvas, and the other, in which the glass sits "above" the paint, with the latter applied "beneath" and inversely. This work belongs to the second method, highly prized in cabinetmaking for decorating chests, wastepaper baskets, etc., and for its similarity to enamel. It should also be remembered that glass painting was especially appreciated by the upper class between the late 17th and early 18th centuries. Ferdinand de' Medici, for example, included glass paintings by Luca Giordano in his collection in 1702. Followers of this master specialized in these years in decorating important furniture with painting under glass. In 1679, for example, Giovanni Battista Tara was paid for having created "a pair of ebony writers' tables inlaid with different paintings on glass," while Carlo Garofalo, a student of Luca Giordano and considered the best glass painter active in Naples in the second half of the 17th century, was called by Charles II of Spain to paint glass for chests and other decorations in prominent royal salons; again, Domenico Coscia is mentioned in documents as a painter "who made those glass pieces very well, which were used by writers." The list of Neapolitan painters who were disciples of Giordano, remembered for their painting on glass, can also be enriched with many other names, such as Domenico Perrone, Francesco della Torre, or Andrea Vincenti.

· Size: 41,5x2,5x18 cms. int: 8x32 cms.
ANTIQUES

Ref.: ZF1420
LOUIS XV STYLE SHOWCASE. WOOD, TEXTILE… LATE 19TH CENTURY.

Display case, Louis XV style. Polychrome and gilded wood, textiles, and glass. Late 19th century. Glass-fronted display case made of carved, polychrome, and gilded wood, decorated with reliefs of plant and architectural elements and scrolled legs. Inside, it features three shelves with Rococo souvenir brackets and two small shelves above. It follows French models common in the 19th century.

· Size: 85x25x197 cms.
DECORATIVE ANTIQUES

Ref.: Z6874
LOUIS XVI STYLE DRESSER. GUÉRET FRÈRES, PARIS, FRANCE, 19TH CENTURY.

Louis XVI style dressing table. Woods, etc. Guéret Frères, Paris, France, 19th century. Marks on the back (stamping). Dressing table with a mirror topped with a crest and two gilt-bronze pine cones, flanked by two shelves on each side with railings, featuring a veined marble top (also present on the shelves) and a front with three drawers in the upper band, two doors in the center (shelves inside removable wooden trays toward the front), and four small drawers flanking them at the front, which lock with a key. On the sides of this lower area are two columns with a strong Classicist influence, enhanced with gilt-bronze elements. The piece stands on four legs. The back features prints related to the designer's work. In France, the Louis XVI style is considered a movement within Neoclassicism and spans from around 1760 to around 1789 (although works inspired by it would be created in the 19th century). It was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. The firm known as Guéret Frères (Denis-Désiré and Onésime) was established in Paris around 1853 and from 1867 was known as Guéret Jeune et Cie., active until the 1880s. They exhibited their work at the International Expositions of 1855 (First Class Medal), 1867 and 1878, specialising in Louis XV and XVI style furniture but also highlighting works inspired by other antique styles. Their works are housed in the Victoria and Albert Museum in London, the Musée d'Orsay in Paris, the Fine Arts Museum of San Francisco (USA), etc.

· Size: 140x55,5x219 cms.
ANTIQUES

Ref.: ZF1261
PAIR OF MIRRORS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of mirrors. Carved and polychrome wood. Spanish School, 17th century. Pair of wall mirrors, each with a rectangular frame and a prominent frame made of carved, polychrome, and gilded wood. These elements are arranged symmetrically, divided into two areas: a thin band with leaves on the inside and a wider one on the outside, with scrolls, acanthus leaves, volutes on the outside, protrusions on the sides, a finial at the bottom, and a helmet-shaped crown, more heraldic than royal due to its details. This one has also been decorated with lines of pearls and an elaborate composition based on simplified plant motifs on a dark background, recalling the bluing common on this type of piece when they were made of metal and royal. One of the helmets faces right, the other left. This crest features a neck guard and a single-piece neck guard, a lowered visor ending in a point, a nape of the neck (which would have been used to accommodate a crest or crest), and, despite not having a wreath, its features are what separate it from royal closed helmets, helms, bascinet, and snouts. Compare, for example, with the Italian cuirassier helmet from around 1615–1620 held by the Metropolitan Museum in New York (inventory 2011.80). As for the mirror, it follows a common design for this type of work in the Spanish school during the Baroque period. Considering the differences (size, etc.), it can be compared with the early 18th-century mirror from the Guevara Palace in Lorca (Murcia, Spain). Also worth noting, due to the similar distribution of the decorative elements on the frames, is the 17th-century mirror with an eagle's head frame in the Prado Museum in Madrid (catalog number O000473), a smaller and simpler pair in the Cervantes Birthplace Museum (Alcalá de Henares, Madrid), etc.

· Size: 96x17x138 int 30x42 cms
ANTIQUES

Ref.: ZF1394
WALNUT AND TEXTILE ARMCHAIR. 18TH CENTURY.

Armchair. Walnut wood, leather, 18th century. High-backed upholstered armchair (like the seat, both with studs), with carved wooden arms forming waves, which also has curved legs with simple scrolls and an H-shaped jamb carved with lines of the same shape, following Baroque models with a strong French influence.

· Size: 63x44x122 cms.
DECORATIVE ANTIQUES

Ref.: Z6845
BRONZE DEVOTIONAL PLAQUE, AGONY IN THE GARDEN. 19TH CENTURY.

Devotional plaque, The Prayer in the Garden. Bronze. 19th century. Devotional plaque featuring a ring at the top for wall mounting and a religious figurative relief on the front framed by an arch, two columns, and a band of architectural elements reminiscent of the Neo-Gothic period at the bottom. It depicts a Prayer in the Garden of Gethsemane inspired by an engraving of a work attributed to Charles Le Brun made by the publisher Gérard Audran (Lyon, 1640–Paris, 1703) dated between 1660 and 1703.

· Size: 8,5x0,5x11 cms.
ANTIQUES

Ref.: ZF1416Y
FOUR MOMENTS OF THE DAY. OIL ON CANVAS. MANUEL BARRÓN, SPAIN, 19TH CEN...

Four Moments of the Day, Seville. Oil on canvas. Barrón y Carrillo, Manuel. 19th century. Signed (bottom right). Labels on the back. Manuel Barrón y Carrillo (Seville, 1814-1884) was a Spanish painter considered the representative of Romantic landscape painting and Andalusian costumbrismo. He trained with Antonio Cabral Bejarano and at the School of Fine Arts in Seville (where he eventually became a teacher and director). He was one of the founders of the Liceo Artístico de Sevilla (1838) and a member of the Sociedad Económica de Amigos del País (Economic Society of Friends of the Country) in that city, as well as a member of the Academy of Santa Isabel de Hungría. It is known that he already presented works at the Liceo and the Sociedad Económica de Sevilla exhibitions in 1838, although his first known work is dated 1852. He devoted himself primarily to landscapes, although his costumbrista paintings (especially those dedicated to everyday life in Seville), still lifes, and portraits are also highly valued. His paintings are held in several private collections and in institutions such as the Prado Museum in Madrid, the Museum of Fine Arts in Seville, the National Museum of Romanticism (Madrid, Spain), the Carmen Thyssen Museum in Malaga, and others. These four landscapes are a good example of what is common and often highlighted in this painter's work. Compare one of the paintings with the View of the Guadalquivir painted in 1854 in the Carmen Thyssen Museum in Málaga (inventory CTB.2002.18), which has a very similar composition to the present one, even down to the figures depicted. The Museum of Fine Arts in Seville also has a pair of vertical landscapes dated 1854 by the same master, titled Sunset (inventory DJ1306P) and Dawn (DJ1307P).

· Size: 70x4x58 cms. int. 63x50 cms.
ANTIQUES

Ref.: ZF1431
WROUGHT IRON LOCK. SPANISH SCHOOL, 17TH CENTURY.

Lock. Wrought iron. Spanish School, 17th century. A working wrought iron deadbolt with a key features a push-button mechanism on the lower right side to lift the cover concealing the keyhole. The key is opened in two steps by inserting the key. The key features a decoration of moldings and pearls, along with a tribolulated ring. The deadbolt features a series of elements on the outer edge, influenced by architecture and arranged symmetrically and balanced, following classicist motifs. The bar consists of a tubular section and a flat section (at one point, another decoration similar to that of the deadbolt appears). Also noteworthy is the heraldic shield-shaped section with a closed crown in the lock's escutcheon area. Compare this work with, for example, the lock shields of ancient Spanish chests such as those preserved in the Museo Casa de Cervantes in Alcalá de Henares (Madrid), with locks from churches, convents and other important ancient institutions (the bolt of El Escorial in the Museum of Royal Collections of National Heritage in Madrid, the doors of the Hospital of the Third Order in Madrid, etc.), or pieces such as the 17th-century Sevillian bolt from the collection of the Museo Español de Antigüedades, now preserved in the Museo Arqueológico Nacional (inventory 52014). Weight: 4 kg.

· Size: 40,5x6x15,5 cms.
ANTIQUES

Ref.: ZF1402
PORTRAITS. BOIS DURCI, METAL. 19TH CENTURY.

Fifteen medallions with profile portraits. Hard wood, metal. 19th century. A set of tondos with a hanging ring displaying profile portraits of historical figures on the front and an inscription and number on the back. Bois durci is a paste of very fine sawdust (usually ebony or rosewood) mixed with albumen (blood or egg white) or gelatin, which was poured into molds to give the desired shape through pressure and heat. It was a technique patented in Paris in 1885 by François Lepage and has been widely used in the manufacture of small objects ever since. The sitters are indicated by name: “Prince Albert” (Albert of Saxe-Coburg and Gotha, consort of Queen Victoria of England), “Napoleon, Prince Imperial / né le Mars 1856” (Napoleon Eugene Louis Bonaparte, son of Napoleon III and Eugenie de Montijo), “Conte Camillo Benso di Cavour” (Camillo Paolo Filippo Giulio Benso, Count of Cavour, Italian statesman and important figure on the road to Italian unification), “F. Mendelssohn” (Felix Mendelssohn, German Romantic composer, conductor and pianist), “Michael Cervantes” (Miguel de Cervantes Saavedra, the Spanish writer), “Napoleon II Empereur / 1859” (Carlos Louis Napoleon Bonaparte, Emperor of the French from 1852 to 1870), “St. Vincent de Paul” (Saint Vincent de Paul, French priest of the 18th century canonized in 1737), “Victor Hugo” (French Romantic poet, playwright and novelist, who was also an influential politician and intellectual of the 19th century), “J. Haydn” (the Austrian composer known as Joseph Haydn), “Rossini” (Gioachino Rossini was an Italian composer famous for his operas –The Barber of Seville, Othello, William Tell…-), “Pius IV POntifex Maximus” (Giovanni Angelo Medici was elected Pope of the Catholic Church with the name of Pius IV between 1559 and 1565), “Leopold I Roi des Belges” (Leopold Beorg Christian Friedrich was a German prince of the House of Saxe-Coburg and Gotha, who became the first King of the Belgians in 1831), “WA Mozart” (the well-known as Wolfgang Amadeus Mozart was a German composer, pianist, conductor and teacher, master of classicism), “Beethoven” (Ludwig van Beethoven[a] was a German composer, conductor, pianist and piano teacher), “Victoria Queen of England” (Victoria was Queen of the United Kingdom from 1837 to 1901). Some private collections and institutions, such as the National Museum of Romanticism in Madrid, hold similar specimens to the present ones.

· Size: 11x11x1 cms.
ANTIQUES

Ref.: ZF1403
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BRONZE BRAZIER. POSSIBLY SPANISH SCHOOL, 16TH CENTURY.

Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century. A polygonal bronze frame for a brazier or table, raised on legs and featuring a decoration of human figures at the top, as a finial, and a series of openwork scenes on the front between Doric or Tuscan columns (human figures surrounded by plant and grotesque elements; two panels with handles), clearly influenced by Classicism. Weight: 1.1 kg.

· Size: 19x19x12 cms.
ANTIQUES

Ref.: ZF1422
PLAN, FONDAZIONE QUERINI STAMPALIA. FRAMED DRAWING. SCARPA, CARLO. 197...

Plan, Fondazione Querini Stampalia. Framed drawing. SCARPA, Carlo (1906-1978), 1978. Signed and dated (bottom left), name in the center. Plan of Carlo Scarpa's intervention at the Fondazione Querini Stampalia, a cultural institution in Venice, Italy, founded in 1869 by Count Guiovanni Querini, the last descendant of the Querini Stampalia family. Carlo Scarpa designed the interior, exterior, and elements of the garden and ground-floor spaces of the historic building (Palazzo Querini Stampalia).

· Size: 47x4x47,5 cms
ANTIQUES

Ref.: ZF135448
PIETA, DEVOTIONAL BRONZE PLAQUE. SPANISH SCHOOL, 17TH CENTURY.

Pietà, devotional plaque. Bronze. Spanish School, 17th century, based on the model of Guglielmo DELLA PORTA. Oval-shaped devotional plaque made of bronze, featuring a ring at the top and a molded frame with an interior line of stripes surrounding a figurative religious scene. This depicts Mary holding the body of Christ after his death (Pietà), following a model attributed to Guglielmo della Porta (1515-1577). Compare this with the gilt bronze relief in the National Gallery of Art in Washington, DC, attributed to Jacob Cornelis Cobaert, who was in turn inspired by a design linked to Guglielmo della Porta and believed to have been executed in Rome around 1569. This type of devotional plaque was very common in the Spanish school.

· Size: 7,5x0,5x11 cms.
ANTIQUES

Ref.: ZF1416W
IRON CANDLE HOLDER. SPANISH SCHOOL, CIRCA 1900.

Lumberjack. Iron. Spanish School, circa 1900. An iron axe-holder with three legs forming lobed lines ending in shells or scallops, a molded shaft with discs, and a cut-out top forming highly simplified plant elements. Aesthetically, the work is inspired by the historicisms common in the Spanish school between the second half of the 19th century and the beginning of the 20th century. Weight: 2.6 kg.

· Size: 33,5x33,5x58 cms
DECORATIVE ANTIQUES

Ref.: ZF1423
CERAMIC SPICES BOWL. SPANISH SCHOOL, 19TH CENTURY.

Spice jar rack. Ceramics. Spanish School, 19th century. It has defects. Table spice rack made of glazed ceramic in its own color with touches of other tones around the handles, formed by joining a series of small jugs. This type of piece is very common in European rustic schools.

· Size: 16x16x15 cms.
DECORATIVE ANTIQUES

Ref.: ZF1421
CERAMIC BOTTLE. SPANISH SCHOOL, 18TH CENTURY

Canteen. Glazed ceramic. Spanish School, late 18th century. It has defects. A green-glazed ceramic jug or canteen with two handles and a flat back for wall hanging. The front features a light relief decoration with simplified geometric and plant elements influenced by older Spanish school designs. Weight: 2.35 kg.

· Size: 23x15x30 cms
DECORATIVE ANTIQUES

Ref.: ZF1425
AT THE GARDEN. LITHOGRAPHY. FRANCE, CIRCA LATE 19TH CENTURY.

Picnic in the Garden. Color lithograph. France, late 19th century. With inscriptions (bottom right area). An idealized scene showing a series of figures dressed in 18th-century courtly attire, seated around a table with plates, fruit, etc., and served by a servant, set in an idealized garden. In the lower right corner, the name of the printer (IMP. F. CHAMPENOIS-PARIS) and the purpose of the work can be read ("Gift of the Olibet Biscuit Factory in Renteria"). Apart from posters designed by Alphonse Mucha, the Parisian printing house of Champenois produced advertising for the Olibet biscuit factory, which opened the first “fine” biscuit factory in France near Bordeaux in 1872. In Rentería (San Sebastián, Spain) they opened another factory in 1886 called “La Ibérica, Gran Manufactura Española de Bizcochos de Lujo y Galletas”, which operated until the end of the 1960s.

· Size: 42x0.1x58 cms.
ANTIQUES

Ref.: ZF1426
MANOLETE. FRAMED ENGRAVING. ANDRÉS MARTÍNEZ DE LEÓN. 1945.

Manolete. Framed print. 1945. Signed and dated on the image. Signed lower right. Titled lower right. Andrés Martínez de León (Coria del Río, April 5, 1895 - Madrid, May 25, 1978) was a Spanish painter and illustrator who trained at the School of Arts and Crafts in Seville, working as a ceramic illustrator in Triana and creating illustrations for the press since 1915. A great bullfighting fan, this work is a sample of his work.

· Size: 63,5x0.1x48,5 cms.
ANTIQUES

Ref.: ZF1427
CARLOS ANTONIO DE BORBÓN. FRAMED ENGRAVING. JUAN ANTONIO SALVADOR CARM...

Charles Anthony of Bourbon. Framed print. Salvador Carmona, Juan Antonio. Spain, 1781. Engraving showing an equestrian portrait of Charles Anthony of Bourbon, Prince of Asturias, made with a burin by Juan Antonio Salvador Carmona (Nava del Rey, 1740-Madrid, 1805?) after a drawing by Manuel Muñoz de Ugena y Matarranz (Madrid 1747-1805), after an ivory sculpture by Celedonio Nicolás Arce y Cacho (Burgos, 1739-Madrid, 1795) in 1781. A copy is held by the Museum of History of Madrid (Spain).

· Size: 47,5x2x48 cms.
ANTIQUES

Ref.: Z0394
GRAND DAUPHIN. FRAMED ENGRAVING. NICOLAS BAZIN. FRANCE, 1682.

Grand Dauphin, Louis of France, son of Louis XIV. Framed engraving. BAZIN, Nicolas (following Jean-Baptiste Martin l'Ancien). France, 1682. It has faults. Engraving depicting Louis of France, son of Louis XIV and known as the Grand Dauphin, made by Nicolas Bazin (1633-1710) after a painting by Jean-Baptiste Martin (Paris, 1659-1735). Other copies are held in the National Library of France and in the collections of Versailles in France, for example.

· Size: 47,5x2x58 cms.
ANTIQUES

Ref.: Z0255
HOLY FACE. OIL ON CANVAS. SPANISH SCHOOL, 16TH CENTURY.

Holy Face. Oil on canvas. Spanish School, 16th century. A canvas depicting a face on a light background with no other elements. Iconographically, this is what is commonly called a Holy Face or the Face of Christ or the Holy Face, linked to both the Passion and the Veronica, or the Mandylion of Edessa. Compare this example with the Holy Face of the Monastery of the Holy Face in Alicante or, much more similar, with the Holy Face of the Cathedral of Jaén, both in Spain.

· Size: 31x3,5x37x5 cms. int: 22,5x29,5 cms.
ANTIQUES

Ref.: ZF136831
HEALING THE PARALYTIC. OIL ON WOOD. CASTILLIAN SCHOOL, SPAIN, 16TH CEN...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. A religious scene set in a prestigious interior, made of two-tone stone, depicting a series of male figures interacting with each other. Ten of them are standing, with golden halos engraved with architectural motifs (one of them carries a palm tree, another a walking stick); one rests a bare foot on a footstool, which also appears to hold the head or upper part of another figure, who appears lying down, looking up, with a bandaged foot. It is important to note the restorations on the panel, in which a series of elements have been drawn, continuing what was preserved where possible. Iconographically, this is an unclear issue: given the presence of a crutch in the hand, the bandaged foot of the recumbent figure is logical and, if Christ is the central character, we could be looking at a healing (perhaps that of the paralytic in Capernaum which took place in a house, or the healings in the temple of God mentioned by Matthew [21:14-15]...), although the presence of the palm suggests a burial (according to some apocryphal gospels, church fathers... an angel appeared to Mary three days before she died/ascended to give her a palm from Paradise which she was to give to the Apostles to take to her body) or a saint who has been martyred. Stylistically, the Flemish influences presented in the panel are clear (faces, fabrics, etc.), along with details more characteristic of Spanish Gothic painting (golden halos, architecture, etc.), which may place the work within the Hispano-Flemish movement. The oculus with two-tone red and white voussoirs was common in Spanish architecture, and this element in the panel can be compared with that of the Church of Santa María la Mayor de Abiesgo in Huesca (without colors), the Mudejar Church of the Virgin of Tobed in Zaragoza (with oculi with latticework in these colors), or the Church of San Pedro de Palencia (with an oculus with similar lines on the interior). Pink and green tiles (although not arranged as in this work) are found in The Virgin of the Catholic Monarchs, preserved in the Prado Museum, dated between 1491 and 1493 and linked to a Castilian Hispano-Flemish painter. The National Art Museum of Catalonia houses a Virgin of the Milk with a donor linked to León and dated to the second half of the 15th century. In it, Jesus wears a halo similar to those on this panel. Some see a strong influence of Pedro Berruguete (Paredes de Nava, Palencia c. 1450 - Madrid? 1503) in this panel; compare it with the Birth of the Virgin in the Altarpiece of the Church of San Martín de Becerril de Campos (circa 1495, Diocesan Museum of Palencia), the Lamentation over the Dead Christ (Palencia Cathedral, circa 1490), etc.

· Size: 99x4x128 cms
ANTIQUES

Ref.: ZF1396
BRONZE CANDELABRA, GENIE OF PROGRESS. 20TH CENTURY, AFTER PICAULT.

Sculpture and candelabra, The Genius of Progress. Bronze. 20th century, modeled after PICAULT, Emile (Paris, 1833–1922). Engraving (S. Kelian). Large candelabrum with a Classicist-influenced allegorical figure holding this element aloft while looking down at a male figure at his feet. The work is inspired by a work by Èmile Picault known as Le Génie du progres (The Spirit of Progress) (Musée Royal de Mariemont de Morlanwelz). Other bronze works by S. Kelian are known to be held in private collections.

· Size: 110x112x245 cms.
DECORATIVE ANTIQUES

Ref.: ZF1384
CHURCH LAMP. SILVER. CÁDIZ, SPAIN, 18TH CENTURY (1767).

Votive lamp. Silver in its color. Cadiz, 18th century (1767). No hallmarks. Inscribed. A silver-colored ceiling lamp featuring a deep lower section divided into levels by a series of moldings, ending in a ring and decorated with plant and architectural elements; a series of chains alternating elongated links with round rings; and a top finial reminiscent of the aforementioned lower section in its shapes and decoration. Inside a shield topped with a crown appears an inscription relating to the person who donated the piece and the date: “By the devotion of D. Manuel Joseph de Alba. Made in Cadiz in the year 1767”. A record is kept at the University of Veracruz (record code 27_1767_12485, folio 115 back-117, record location Jalapa) in which Don Manuel José de Alba is mentioned, the legitimate son of Don Juan José de Alba and Doña Beatriz de Aragón, a native of the town of Chiclana and resident of the city of Cadiz, residing in Jalapa. Someone with the same name (probably the one alluded to in the piece) appears in documents from 1767 from the Corpus Christi Convent in Alcalá de los Gazules. Votive lamps are a type of liturgical furnishings whose purpose was to burn to illuminate either an image to which one felt a strong devotion or the Blessed Sacrament, so they were frequently found accompanying the tabernacles of chapels. Several early examples survive, mainly in private collections and ecclesiastical institutions. Compare, for example, the 1720 Juan del Río lamp from New Mexico (Franz Mayer Museum, Mexico City, Mexico); three from the 18th century in the church of Santa María de Tobed (Zaragoza, Spain); another from 1788 in the parish of Nuestra Señora de Gracia de Montalbán in Córdoba (Spain); etc. Weight: 3020 grams.

· Size: 46x46x115 cms.
ANTIQUES

Ref.: ZF1315

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