ANTIQUES

DECORATION

DECORATIVE ANTIQUES

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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
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LANDSCAPE, PEÑAFIEL. OIL ON CANVAS. JOSÉ MARÍA “CASTILVIEJO” (ZAMORA, ...

“Rural scene, Peñafiel”. Oil on canvas. José María “Castilviejo” (Zamora, 1925-Valladolid, 2004). José María García Fernández, better known as José María Castilviejo, was a Spanish painter who worked in various techniques (oil, watercolor, engraving, drawing) and a wide range of subjects (best known for his portraits, still lifes, and landscapes). Critics noted his remarkable ability to blend the traditional with the contemporary, reflecting a profound connection to the community. Awarded prizes such as the Castilla y León Prize for the Arts (2002), his work is held in private collections and institutions such as the Robinson and Rothschild Collections, the Museum of Modern Art in New York, and the Labor University of Zamora, among others.

· Size: 290x185 cms.
ANTIQUES
PAINTINGS

Ref.: Z5633
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CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

“Child Jesus”. Carved and polychromed wood. Spanish school, 17th century. Back base. Christ is depicted nude, with a slight contrapposto in the legs and hips that lends a sense of movement to the sculpture, and with delicate flesh tones. He gazes straight ahead, raising one arm in a gesture of blessing, and holds a golden orb alluding to Creation in the other hand. His curly, blond hair features a small tuft at the crown of his head. The sculpture is enhanced by a modern base, inspired by Spanish Baroque models, composed of dynamic lines and decorated with architectural elements of classical influence, most notably the pairs of volutes projecting from the front. While the tuft of hair is reminiscent of the works of Martínez Montañés, in this example the hair is clearly curly. Compare this work with pieces such as those preserved in the Museum of Fine Arts of Córdoba, one in the Municipal Museum of La Roda, some from the Royal Monastery of Las Descalzas Reales in Madrid, etc. These types of works were made to be worn, and their intended use was usually in a female religious setting (it was considered that female devotion should not be directed towards certain works or iconography of the Passion because they were deemed too intense), or in a private oratory of an important residence.

· Size: 41x32x87 cms
ANTIQUES
SCULPTURE

Ref.: Z6564
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”VIRGIN WITH CHILD ON THE THRONE”. BOXWOOD, BRONZE AND ROCK CRYSTAL. 1...

Virgin and Child Enthroned. Boxwood, bronze, and carved rock crystal. 19th century. On a carpeted base rests a second bronze base, the same metal from which the throne is made. This throne stands on four low columns with smooth shafts and capitals decorated with volutes and simplified plant forms, decorative elements that are repeated at the waist, combined with oval blue beads. The square backrest, openwork with highly stylized scrolls, is topped with four carved rock crystal pearls. Seated on the throne is the Virgin Mary, wearing a crown that echoes the decorative elements of the throne, dressed in a tunic and mantle, and holding a book. The Christ Child, on her lap, also gazes forward, blessing with his right hand. The iconography, as is typical, derives from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta depicts Mary seated on a throne, with the Child on her lap, both facing the viewer, reflecting the decrees of the Fourth Ecumenical Council of Chalcedon (451 AD). These images arrived in Europe during the Romanesque period, shaping Western iconography. This work can be compared to the 13th-century Italo-Byzantine icon in the National Gallery of Art in Washington, D.C. (United States), or the carving of the "Virgin of the Battles" from the Monastery of San Pedro de Arlanza, made around 1225-1235 and now in the Museum of Burgos, or the mid-17th-century Romanesque image in the Museum of Fine Arts in Buenos Aires (Argentina), although there are many other examples. However, details such as the decoration of the capitals, the anatomy of the two figures, the scrolls of the throne and crown, the folds of the drapery, a certain air of life in the faces despite their stylization, the symmetry present in various parts of the work, etc., indicate that the carving belongs to a more recent period. Specifically, it belongs to the style known as Neo-Gothic: this style was inspired by works from the 13th to the 15th-16th centuries and opposed the preceding Neoclassical style; it originated in England around the mid-18th century and spread throughout continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
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CHANDELIER WITH 32 LIGHTS, BRONZE WITH PATINA.

Chandelier with 32 lights, bronze with an aged finish. The shaft that attaches it to the ceiling is decorated with architectural motifs and a central shape resembling a fabric pavilion, situated atop an Ionic capital from which garlands hang. The thirty-two lights are grouped in threes in eight longer, Y-shaped arms and eight shorter, single-light arms, all decorated with scrolls and vegetal elements. The central, vase-shaped core also features vegetal and architectural motifs inspired by classical antiquity.

· Size: 120x120x130 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E517
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DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Walnut wood dining table with Solomon's leg, 20th century. Dining table with a two-piece headboard on legs with Solomonic turning and a chambranle attached to it with curved wrought iron braces, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

Ref.: Z5591
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SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre-shaped legs and iron braces, 18th century. The two lyre-shaped legs supporting the piece feature undulating lines at the bottom and shapes on the sides reminiscent of French cabriolet guitars. They are joined by an iron brace and support a single-piece tabletop with carved edges. This type of leg, called lyre-shaped because of its resemblance to the musical instrument, was widely used in the Renaissance, and its use continued later due to the movement that its curved profiles brought to the furniture.

· Size: 73x103x220 cms.
ANTIQUES
FURNITURE

Ref.: Z6146
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CARRIAGE, “JARDINERA” TYPE.

Garden-type carriage. An open, four-wheeled carriage with leaf springs and a raised driver's seat, whose baluster body allows for several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5023
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LOUIS XVI STYLE TABLE WITH EIGHT LEGS.

Louis XVI style table with eight legs. Made of carved and gilded wood, the table rests on eight pilastered legs decorated with vegetal motifs and set on a base; these are joined in the center by curved stretchers adorned with vegetal elements. The waistline features, on each side, a central motif consisting of a circle with a flower and vegetal motifs at its base that extend outwards and visually continue along the entire side, which is decorated with architectural elements. The Louis XVI style, on which this table is based, is also known in France as "Style à la grecque" due to its inspiration from classical elements.

· Size: 222.5x132x79 cms., Para tapa 210x120 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E325
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WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid featuring moldings, metal fittings, and corner pieces in wrought iron on a red fabric background, all made from stylized and simplified plant and architectural elements. Key lock on the front. Single-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, tableware, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357
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COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Sideboard. Walnut wood, wrought iron. Spain, 17th century. A low rectangular cabinet made of oak with wrought iron elements, raised slightly on four legs. It features a slightly projecting, straight top and fronts decorated with carvings. Inside, beneath two drawers, are two doors, all lockable by key (the lock shields are decorated with simple lines only on the doors). Opening the doors reveals a space divided in two by a shelf decorated with a series of cut lines along its lower edge. At the top, beneath the tabletop, are carved corbels with volutes, tongues, and simple architectural elements; along the sides of the front, fluting recalls architectural motifs. The exterior of the doors and drawers, as well as the sides of the piece, are decorated with panels of varying sizes and shapes (crosses, squares, rectangles), following a tradition deeply rooted in Spanish furniture. This allows for comparisons with works such as the 17th-century alcaje (upper section with lattice doors) made of walnut, pine, and iron, now in the National Museum of Decorative Arts in Madrid, or the 17th-century alcaje with turned balusters in the Cervantes House Museum in Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
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WOODEN BED WITH GILT BRONZE.

Bed with bronze accents At the foot of the bed are a series of bronze appliqués featuring vegetal scrolls, garlands, and egg-and-dart moldings. The headboard is topped with a basket of flowers flanked by two putti. The four posts are crowned with vases of flowers. All these elements are classically inspired and contrast with the dynamic lines of the footboard and headboard. This combination is characteristic of 19th-century furniture and, due to its popularity, remained in use afterward.

· Size: 212x225x215 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E458
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FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight stretchers and fixed to the tabletop with stretchers, have no notable decorative elements, but they do feature a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque period, it displays little movement or decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6208
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”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (lower right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, the Libertarian Athenaeum of the People of Vallecas during the Civil War, and the Higher School of Painting, Sculpture, and Engraving at the National Library). During the war, he began his first artistic endeavors in the world of literature. After the war, he was imprisoned for a year, during which time he dedicated himself entirely to painting. In the 1940s, he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to gaining critical acclaim by the end of the decade. The 1950s were crucial in his artistic development; he traveled throughout Spain and presented his work in several national and international exhibitions. It was also during this period that he became associated with the "Madrid School" (he exhibited many works collectively with other members of the school, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque, and Cézanne. In 1960, he received another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years. This period reflected an aesthetic transformation in his work, bringing his painting closer to a language of abstraction and also altering his concept of light. He has received numerous awards (Painting Prize at the 2nd Hispano-American Biennial in 1953 in Havana, Cuba; First Medal at the National Fine Arts Exhibition in 1962; Gold Medal at the Arte-Santander Fair in 1999 in recognition of his artistic career, etc.), and his work has been exhibited worldwide (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and by prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art of Madrid, the Albacete Museum, the Mapfre Foundation, the Reina Sofía National Art Centre Museum in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264
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PIETRA DURA TABLETOP. MARBLE AND HARDSTONES. “FLOWER”.

Circular tabletop of marble and hard stones. “Flower”. Inspired by Italian models of the 16th-17th centuries. A flower surrounded by vegetal scrolls is presented as the main motif in the center, and is highlighted by its brown colors, in contrast to the paler surroundings, made up of vegetal elements and branches with fruits on which several birds are perched while some butterflies are silhouetted against the black background. The tabletop was crafted using a technique similar to wood marquetry, employing marbles and various hard stones such as lapis lazuli. The history of hardstone carving began with Piero de' Medici and Lorenzo the Magnificent in Florence, who sought to revitalize the Roman mosaic technique (opus sectile) made with colored stones, incorporating variations in theme and technique. After 1600, the primacy of naturalistic motifs over other themes that appeared in the 15th century became clear. In the 17th century, France was the first court to show a clear interest in hardstone carving, establishing local production centers (Gobelins Manufactory), while in Italy, the Royal Workshop of Naples took over from the Florentine workshop, which had by then disappeared. In Spain, Charles III established another workshop in the Royal Palace of Buen Retiro in Madrid, which closed at the beginning of the 19th century. Over time, and based on the prominence of plant motifs, the designs changed to suit the tastes of the time. These works were always commissioned by the high aristocracy and the courts due to the high cost of materials and labor. The present example is a worthy heir to this important tradition. Compare it with those preserved in the Museo Opificio delle Pietre Dure in Florence, the panel by Francesco Ghinghi (O00511), or the one made in Naples (O00466) in the Prado Museum in Madrid.

· Size: Diam. 120 cms.
DECORATION
HARDS STONES

Ref.: AWD05 D1...
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CASTILLAN WALNUT CHEST. TEXTILE AND WROUGHT IRON. SPAIN, BAROQUE, 17TH...

Castilian chest. Walnut wood, textile and wrought iron. 17th century. A rectangular chest with a flat lid and no legs, decorated with carved moldings along the top and bottom edges and the front, avoiding the front lock. The lock, made of metal and set on red fabric, features an openwork design of scrolls and other simplified shapes, a decoration also found on the chest's other fittings. Two metal pieces secure the lid to the sides of the front; the handles, typical of this type of chest, are also located on the sides, adorned with an openwork iron design on fabric, similar to the other elements. The interior features exposed wood, along with the corresponding fittings (hinges and locking mechanism), and a wooden-lined compartment on one side. The various openwork iron fittings follow a tradition already found on chests at the end of the 16th century (compare this example with the 15th-century Gothic chest in the Valladolid Museum, for instance), but with decorative motifs of Baroque influence: brackets, simplified scrolls, curves, etc. The rectangular shape of this chest, with a flat lid, is also typical of this type of furniture since the Gothic period, showing no characteristic 17th-century influence. It is important to highlight the significance of this style in Spanish furniture, as it persisted until the 19th century, especially in Andalusia, with only slight variations. The most notable change was the shift from openwork iron decorative elements, as in this example, to the use of gilded brass studs depicting coats of arms, vegetal motifs, and so on. The chest is typical of Castilian models, which are quite different from those of Catalonia, Valencia, and Mallorca. Although it was the most common piece of furniture at the time, not many examples have been preserved: compare with the two 17th-century chests in the Casa de Cervantes Museum (CE 202 without fittings, CE 145 with them) in Alcalá de Henares (Madrid).

· Size: 67x171x60 cms
ANTIQUES
FURNITURE

Ref.: Z6840
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VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century. The landscape features numerous ships and boats, accompanied by small figures. In the background, a city stands out, with walls, houses, towers, etc., among which a tall structure is prominent, which, along with the presence and shape of the port, clearly defines the view. The structure in question is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and it features prominently in numerous views of the city. Compare it with a 16th-century copper engraving, copies of which are in several museums; Bonaventura Peeters the Elder's (1614-1652) View of the Port of Antwerp from the Vlaams Hoofd (Museum aan de Stroom); Mathys Schoevaerdts's View, painted between 1660 and 1702 (same museum); and so on.

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

Ref.: ZF0975
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MAHOGANY DISPLAY CABINET WITH FOUR DOORS.

Mahogany wood display cabinet with six doors and eight drawers. The lower section of the display cabinet is divided into three parts, as is the upper section. The side sections each have four drawers, and the central section has two doors. The upper section has four doors, all decorated with tracery of straight lines and rectangles. A curved, broken pediment in the center, flanked by straight moldings, crowns the piece. Inspired by 19th-century English models

· Size: 224x205x50 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: JA090
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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
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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
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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
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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
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PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Octagonal tabletop decorated with work in hard stones. Octagonal tabletop in dark stone decorated with "hardstone work" forming a series of stars in the central area and an elaborate band of flowers towards the outside, in an area separated from the center by two light lines. It was made using a technique similar to marquetry, employing marbles and hard stones (over 7 on the Mohs scale) to create these designs. This technique originated in Italy during the Renaissance and was developed throughout Europe only in a few important workshops.

· Size: 120x120 cms.
DECORATION
HARDS STONES

Ref.: AM-37 OC...

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