Results 97 to 120 of 1437

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JACKET AND TROUSERS, SOVEREIGN MILITARY ORDER OF MALTA. SPAIN, POSSIBL...

Uniform of Honor, Order of Malta. Spain, possibly from the early 20th century. A blue jacket or coat and trousers, the former bearing a label from the tailor shop Félix del Hierro, which was located on Barquillo Street in Madrid, Spain, and had another branch on Almirante Street in the same city. It is known to have been active until at least 1946. The Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta (SMOM), known simply as the Order of Malta or Knights Hospitaller, was recognized by Pope Paschal II in 1113. After having provisional headquarters in Messina, Catania, and Ferrara, the Order finally settled in Rome in 1834. During the 20th century, the Order refocused on its mission of providing hospital care.

· Size: 50x5x90 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1448
PAIR OF BRONZE VASES. JAPAN, MEIJI ERA.

Pair of vases. Bronze. Japan, Meiji period (1868-1912). Pair of bronze vases decorated with figurative elements and a band of gadroons. Two oriental-style dragons in flight appear on the necks, while the bodies feature birds, branches, and fruit in various poses. Stylistically, they are similar to examples held in private collections dating from the late 19th century. Weight: 5.45 kg.

· Size: 19x19x32 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1439
NIGHT STAND. WOOD (LIMONCILLO), METAL, ETC. LATE 19TH CENTURY.

Bedside table. Lemonwood, metal, etc. Late 19th century. It has minor flaws. This wooden bedside table features four legs carved with simple architectural elements, metal casters, and a decorative panel at the bottom. The front includes a drawer and a hinged door that opens to reveal an open storage space.

· Size: 39x39x82 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z0619
DOOR. WOOD (WALNUT, PINE), METAL. 18th CENTURY.

Double door. Pine and walnut wood, metal. 18th century. It has defects. A tall, double-leaf door made of wood, combining pine and walnut, featuring a simple paneling design, following common patterns in Spanish carpentry dating back to the Renaissance, and latticework at the top. It has an oval metal keyhole in one of the leaves.

· Size: 126x3,5x208 cms
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z3901
AUTOGRAPH AND PHOTOGRAPH. VASLAVNIYINSKY, 1914.

Photograph and signature. Vaslav Niyinsky (kyiv, 1890-London, 1950), 1914. Vaslav Niyinsky (transliterated Vaslav Fomich Nizhinski) was a Polish-born Russian ballet dancer and choreographer considered one of the most gifted in history, particularly due to his encounter with Sergei Diaghilev, a member of the St. Petersburg elite and an important patron of the arts, who promoted Russian visual and musical art abroad, especially in Paris. During World War I, Nijinsky was placed under house arrest in Hungary because he was a Russian citizen. Diaghilev managed to get Nijinsky out of the country thanks to the intervention of King Alfonso XIII and his Office for Prisoners of War. The signature appears accompanied by a photograph of the type used as calling cards at the time (cabinet photograph), and is dated 1914.

· Size: 58x6,5x49 cms. int: 40,5x31 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF1340B
PAIR OF LOUIS 18TH CANDELABRA. BRONZE. FRANCE, CIRCA 1800.

Pair of Louis XVIII candlesticks. Bronze (blued and gilded). France, circa 1800. A pair of six-light candelabra made of bronze, of a type commonly called "tripod" due to its shape. A base with three projections, situated on inverted truncated pyramidal architectural elements with reliefs and medallions on their outer faces, supports three seated sphinxes of burnished bronze with gilded tails. From their backs rise three stems, each ending in a child's head with butterfly wings, decorated with candelabra in relief and secured by an openwork band (note the spiral bouquet inside). From the heads rises a circular form with projections, upon which rests the candelabra's main axis, topped with a pomegranate on a floral composition. The candelabra arms, ending in wicks, feature delicate scrolls and rooster heads. Note the changing textures of the material and the great detail present in the architectural, vegetal, and figurative elements. The design of these vase-shaped candelabra was enormously successful, and numerous variations with slight modifications were subsequently created, including sphinxes and goat heads. On April 16, 1787, François Rémond (c. 1747–1812) supplied Daguerre with eight “girandoles en tripied” (as they were often known in the documents), identified by some experts with the eight candelabra of this model purchased from Daguerre by George, Prince of Wales, later King George IV, for Carlton House. The larger, ten-light model, featuring a vase and rooster heads, was created around 1786. A pair of candelabra of this model are recorded in the 1836 inventory of Legendre de Lucay's collection, and another pair is known to have been commissioned for Marie Antoinette's Salon des Nobles at Versailles. Compare the present example with the griffin candelabrum dated around 1785 in the Musée Nissim Camondo (Paris, France); or with the sphinx and stone vase candelabrum attributed to Francçois Rémond (dated between 1783 and 1786) in The Wallace Collection; or (with less similarity at the base) the late 18th-century pair attributed to Pierre Gouthière in the White Drawing Room at Buckingham Palace, and, in the same room, another pair by Pierre Gouthière, with reclining sphinxes and a stone vase in the center of the two three-light candelabras.

· Size: 40x40x107 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1167
GLASS AND BRONZE CHANDELIER. 19TH CENTURY.

Ceiling lamp with thirty lights. Bronze, glass. 19th century. A chandelier or ceiling lamp with a total of thirty lights, each with its corresponding glass dish—a reminder of the days when candles were used—and a gilded bronze structure with arms decorated with scrolls and curved lines. Transparent glass pieces are positioned along the central axis. A series of chains with polygonal beads, rectangular pieces, and others with unusual shapes, some with upward-pointing tips, adorn the different tiers of the chandelier. It is important to highlight the variety of shapes and the quality of the colorless glass. The profiles of some beads (teardrops, polygons, pendants) are found in Bohemian and French works, as well as in most pieces from the Royal Glass and Crystal Factory of La Granja de San Ildefonso (Segovia, Spain), due to their great popularity. Stars or small flowers are considerably less common in the surviving examples, and according to experts, are more frequently found in the French school (and in the Spanish school due to its influence). The mastery of the carving is evident in the profiles and the fineness of the shaping of the shaft. The decorative bronze elements clearly show Neoclassical influences, while the glasswork in beads and other details is reminiscent of the so-called "Maria Theresa chandeliers," based on those commissioned by Empress Maria Theresa for her coronation from factories in the Bohemian region of the Czech Republic in 1743. This style spread rapidly throughout Europe, with variations in design, and continues to serve as a model for major glass factories to this day. While distinct from the work produced in Murano, Italy, the chandelier follows a tradition rooted in Bohemia and continued in France, where gilded bronze received as much attention as glass. Similar chandeliers can still be found in prominent residences such as the Fernán Núñez Palace (Madrid), the Viana Palace (Córdoba), the National Museum of Decorative Arts (Madrid), the Paz Palace (Buenos Aires, Argentina), the Louvre Museum (Paris), and others.

· Size: 100x100x135 cms.
ANTIQUES
FURNITURE

Ref.: ZF1437
WOODEN DESK. EUROPE, CIRCA MIDDLE 20TH CENTURY.

Desk. Rosewood. Possibly Northern Europe, mid-20th century. This wooden desk or writing table has four legs, a structure with two drawers, and a top with a raised edge at the back that extends along the sides to prevent items from falling. Stylistically, it resembles German and Scandinavian models from the mid-20th century or the 1960s and 70s.

· Size: 140x80x75 cms.
ANTIQUES
FURNITURE

Ref.: ZF0323
BRONZE DEVOTIONAL PLAQUE, SAINT ANTHONY OF PADUA. SPANISH SCHOOL, 17TH...

Devotional plaque, Saint Anthony of Padua. Bronze. Spanish School, 17th century. A rectangular bronze devotional plaque with a ring at the top, a molded frame, and a figurative relief on the front. It depicts a man in a habit, standing, holding a book in one hand (on which the Christ Child is depicted) and a cross in the other, resting on his shoulder. Two pedestals are shown, one with a skull and the other with books. Compare with the one in the Metropolitan Museum (inventory 2012.545.12), dated to the early 17th century. Weight: 146 grams.

· Size: 7,1 x 0,5 x 11,4 cm
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1416N
BRONZE DEVOTIONAL PLAQUE, SAINT BENEDICT OF NURSIA. SPANISH SCHOOL, 17...

Devotional plaque, Saint Benedict of Nursia. Bronze. Spanish school, 17th century. A rectangular bronze devotional plaque with a ring at the top, a molded frame, and a relief sculpture on the front. It depicts a man in a habit, standing, holding a staff and a book in one hand, with a sunburst or burst of glory in the upper left corner, and a book and mitre in the lower section. This is Saint Benedict of Nursia, a Christian monk considered the founder of monasticism in the West and venerated as a saint by the Catholic, Orthodox, and Lutheran Churches. Weight: 130 grams.

· Size: 7 x 0,4 x 11 cm.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1416Q
BRONZE BOX. 16TH CENTURY.

Hostary. Bronze. 16th century. A circular, tubular bronze box with a lid featuring a finial. A flat, tubular piece is attached to the lid, acting as a press for the interior of the case. The exterior is decorated with thin bands, in addition to the finial. Weight: 1100 grams.

· Size: 10,5x10,5x13 cms
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: ZF0272J
BRONZE DEVOTIONAL PLAQUE, SAINT DOMINIC. BRONZE. SPANISH SCHOOL, 17TH-...

Devotional plaque, Saint Dominic of Guzman. Bronze. Spanish School, 17th-18th centuries. A rectangular bronze devotional plaque with a ring at the top, a molded frame, and a relief sculpture on the front. It depicts a man in a habit, standing, holding a cross with a crucifix in one hand and what appears to be a book in the other, with a burst of glory in the upper left corner and other objects at the bottom. This is Saint Dominic of Guzmán, a Castilian priest and Catholic saint, founder of the Order of Preachers. Weight: 143 grams.

· Size: 6,9 x 0,5 x 10,7 cm
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1416A
BRONZE DEVOTIONAL PLAQUE, SAINT BENEDICT OF NURSIA. SPANISH SCHOOL, 17...

Devotional plaque, Saint Benedict of Nursia. Bronze. Spanish school, 17th century. A rectangular bronze devotional plaque with a ring at the top, a molded frame, and a relief sculpture on the front. It depicts a man in a habit, standing and holding a staff in one hand, with a sunburst or burst of glory in the upper left corner, and a book and mitre at the bottom. This is Saint Benedict of Nursia, a Christian monk considered the founder of monasticism in the West and venerated as a saint by the Catholic, Orthodox, and Lutheran Churches. Weight: 135 grams.

· Size: 6,9 x 0,5 x 11 cm.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1416K
BRONZE DEVOTIONAL PLAQUE, SAINT DOMINIC. BRONZE. SPANISH SCHOOL, 17TH ...

Devotional plaque, Saint Dominic of Guzman. Bronze. Spanish School, 17th century. A rectangular bronze devotional plaque with a ring at the top, a molded frame, and a relief sculpture on the front. It depicts a man in a habit, standing, holding a cross with a crucifix in one hand and what appears to be a book in the other, with a burst of glory in the upper left corner and other objects at the bottom. This is Saint Dominic of Guzmán, a Castilian priest and Catholic saint, founder of the Order of Preachers. Weight: 182 grams.

· Size: 7,4 x 0,5 x 11,1 cm.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1416R
MARQUETRY AND BRONZE SHOWCASE. FRENCH SCHOOL, 19TH CENTURY.

Louis XVI style display case. Wood, gilt bronze, etc. French school, 19th century. A wooden display cabinet decorated with marquetry plaques featuring figurative motifs on the lower section and gilt bronze mounts, it has three glass fronts that reveal the interior. The interior is lined with red fabric and includes two glass shelves. The marquetry scenes depict figures in landscapes reminiscent of oriental art. The bronze mounts and the "bombé" shape of the lower section show Rococo influences. The Louis XVI style is considered in France to be a branch of Neoclassicism, spanning from around 1760 to approximately 1789 (although works inspired by it continued into 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 exhibiting Rococo influences is known as Louis XV, and it also inspired works in the 19th century, which are given the same name.

· Size: 43x63x172 cms.
ANTIQUES
FURNITURE

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

Tritons defending Nereids. Oil on glass (reverse). Possibly Italian school (perhaps Naples), towards the end of the 16th-17th century. A framed glass panel with a painting, most likely oil, beneath it, depicting a landscape 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 to be attacking a sea monster (very similar to those inspired by ancient Roman works, common in painting since the Renaissance). It is necessary to first distinguish between two painting techniques that employ glass: one that uses it as a base, like canvas, and another in which the glass is placed "on top" of the paint, which is applied "beneath" and in reverse. This work belongs to the second method, highly valued in cabinetmaking for decorating chests, wastepaper baskets, etc., and for its resemblance to enamels. It should also be remembered that glass painting was especially prized by the upper class between the late 17th and early 18th centuries. Ferdinand de' Medici, for example, included some glass paintings by Luca Giordano in his collection in 1702. Followers of this master specialized during these years in decorating important furniture with under-glass painting. In 1679, for instance, Giovanni Battista Tara was paid for creating "a pair of ebony scribes inlaid with different paintings on glass," while Carlo Garofalo, a pupil of Luca Giordano and considered the best glass painter active in Naples in the second half of the 17th century, was summoned by Charles II of Spain to paint glass for chests and other decorations in prominent royal halls; again, Domenico Coscia is mentioned in documents as a painter "who made very good glass pieces, which were used for scribes." The list of Neapolitan painters who were disciples of Giordano, remembered for their painting activity 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
PAINTINGS

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

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

· Size: 85x25x197 cms.
DECORATIVE ANTIQUES
FURNITURE

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 (stamp). A dressing table with a mirror topped by a crest and two gilt bronze pinecones, flanked by two shelves on each side with railings, features a veined marble top (also present on the shelves) and a front with three drawers in the upper section, two central doors (containing shelves inside pull-out wooden trays), and four small lockable drawers flanking them. On either side of this lower section are two columns with a strong classical influence, enhanced with gilt bronze elements. The piece stands on four legs. The back displays prints related to the manufacturer. The Louis XVI style is considered, in France, a current within Neoclassicism and spans from around 1760 to approximately 1789 (although works inspired by it were created in the 19th century), and 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 Exhibitions of 1855 (First Class Medal), 1867, and 1878, specializing in Louis XV and XVI style furniture, but also producing works inspired by other antique styles. Their pieces are held in the Victoria and Albert Museum in London, the Musée d'Orsay in Paris, the San Francisco Museum of Fine Arts (USA), and other institutions.

· Size: 140x55,5x219 cms.
ANTIQUES
FURNITURE

Ref.: ZF1261
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 (lower right area). Labels on the backs. Manuel Barrón y Carrillo (Seville, 1814-1884) was a Spanish painter considered the leading figure of Romantic landscape painting and Andalusian genre painting. He trained with Antonio Cabral Bejarano and at the School of Fine Arts in Seville (where he would later become a professor and director). He was one of the founders of the Artistic Lyceum of Seville (1838) and a member of the Economic Society of Friends of the Country of Seville, as well as an academician of the Royal Academy of Saint Isabel of Hungary. It is known that he presented works at the exhibitions of the Lyceum and the Economic Society of Seville as early as 1838, although his first known work is dated 1852. He primarily painted landscapes, although his genre paintings (particularly those depicting everyday life in Seville), still lifes, and portraits are also highly regarded. 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 Málaga, and others. These four landscapes are a good example of what is typical and what is usually highlighted in this painter's work. Compare one of the paintings with the View of the Guadalquivir, painted in 1854 and now in the Carmen Thyssen Museum in Málaga (inventory CTB.2002.18), which has a very similar composition, even in the figures depicted. The Museum of Fine Arts in Seville also holds a pair of vertical landscapes by the same artist, dated 1854, entitled Sunset (inventory DJ1306P) and Sunrise (DJ1307P).

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

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

Bolt. Wrought iron. Spanish school, 17th century. A working, wrought iron lock with a key mechanism, operated by a button on the lower right side, lifts the cover concealing the keyhole. The key is inserted in two steps to open the lock. The lock features a decorative molding, a pearl motif, and a trefoil ring. The outer edge of the lock displays architecturally influenced elements arranged symmetrically and in a balanced style, reminiscent of classical designs. The bar consists of a tubular section and a flat section (at one point on the flat section, there is another decoration similar to that of the lock). The heraldic shield with a closed crown on the lock's shield area is also noteworthy. Compare this work with, for example, the lock shields of antique Spanish chests such as those preserved in the Cervantes House Museum in Alcalá de Henares (Madrid), with locks from churches, convents, and other important antique institutions (the lock from El Escorial in the Royal Collections Museum of the National Heritage in Madrid, doors of the Hospital of the Third Order in Madrid, etc.), or pieces such as the 17th-century Sevillian lock from the collection of the Spanish Museum of Antiquities, now held in the National Archaeological Museum (inventory 52014). Weight: 4 kg.

· Size: 40,5x6x15,5 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1402
CERAMIC SPICES BOWL. SPANISH SCHOOL, 19TH CENTURY.

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

· Size: 16x16x15 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: ZF1421
MANOLETE. FRAMED ENGRAVING. ANDRÉS MARTÍNEZ DE LEÓN. 1945.

Manolete. Framed print. MARTÍNEZ DE LEÓN, Andrés. 1945. Signed and dated in image. Signed lower right area. Titled lower area. 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 newspapers from 1915 onwards. A great fan of bullfighting, this work would be a sample of his work.

· Size: 63,5x0.1x48,5 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF1427
LOUIS XV STYLE INKWELL. BRONZE, STONE. POSSIBLY FRENCH SCHOOL, 19TH CE...

Louis XV style writing desk. Gilt bronze, stone. Possibly French school, 19th century. A gilded bronze writing set featuring a metal plate at the bottom and, at the top, decoration based on vegetal, architectural, and other elements, showing a certain classical influence but with a composition and dynamic combination reminiscent of the Rococo style. Raised on scroll-shaped legs, it has two inkwells with hinged lids and a central area revealing a veined stone slab (possibly marble) in a somewhat heart shape, surrounded by vegetal and architectural motifs. There is evidence of another very similar example in a French private collection, something common in this type of work due to the high specialization of bronze workshops in France, who created a series of identical or very similar works which, in turn, they sold to dealers or other workshops to be used in clocks, harnesses, etc., adding elements of porcelain, marble, wood... Weight: 4.3 kg.

· Size: 30x18x13 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1419
HEALING THE PARALYTIC. OIL ON WOOD. CASTILLIAN SCHOOL, SPAIN, 16TH CEN...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. This religious scene, set in a relatively elegant interior, is carved from two-tone stone and depicts a group of male figures interacting with one another. Ten stand with golden halos and are engraved with architectural motifs (one carries a palm, another a staff); one rests a bare foot on a footstool, which also appears to support the head or upper part of another reclining figure, his gaze raised and one foot bandaged. It is important to note the restorations the panel has undergone, in which several elements have been redrawn, continuing the original design where possible. Iconographically, it is a somewhat unclear subject: given the presence of a crutch in the hand, the bandaged foot of the reclining figure is logical and, if Christ is the central figure, we could be looking at a healing (perhaps that of the paralytic in Capernaum that 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 dying/ascending to give her a palm from Paradise and that she was to give to the Apostles to take before her body) or a saint who has been martyred. Stylistically, the panel clearly displays Flemish influences (faces, fabrics, etc.), alongside details more characteristic of Spanish Gothic painting (golden halos, architecture, etc.), placing the work within the Hispano-Flemish school. The oculus with its two-tone red and white voussoirs was common in Spanish architecture, and this element in the panel can be compared to that of the Church of Santa María la Mayor de Abiesgo in Huesca (without colors), the Mudéjar Church of the Virgen de Tobed in Zaragoza (with oculi featuring latticework in these colors), or the Church of San Pedro in Palencia (with an oculus bearing lines similar to its interior). The Virgin of the Catholic Monarchs, housed in the Prado Museum, dated between 1491 and 1493 and attributed to a Castilian Hispano-Flemish painter, features pink and green tiles (though not arranged as in this work). The National Art Museum of Catalonia holds a Virgin of the Milk with a donor, linked to León and dated to the second half of the 15th century, in which Jesus has a halo similar to those in 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 Nativity of the Virgin from 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
PAINTINGS

Ref.: ZF1396

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