Results 1177 to 1200 of 1509

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SILVER CANDLESTICK OR CANDLE HOLDER, WITH CHAIN AND TONGS. F. ROCA, BA...

Candlestick with chain and clips. Silver. F. Roca, Barcelona, circa first half of the 19th century. With contrast and engraving marks. A silver candlestick in its natural color, with an openwork bowl raised on two small legs (inside is a vase-shaped piece for holding the candle), and a flat handle (curved towards the end, where the third leg is located), decorated with two bands of pearls on the sides (a motif that also appears on the rim of the bowl). From the end of the handle emerges a small chain that terminates in tongs (which are attached to a piece soldered to the lower part of the handle). The piece bears two engraving marks and hallmarks beneath the bowl. These latter marks indicate that the piece was made in Barcelona by F. Roca, a silversmith active in the city during the second half of the 18th and the beginning of the 19th centuries. Weight: 185 grams.

· Size: 23,5 x 8,5 x 7 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6734
”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
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
PAIR OF PORCELAIN FIGURINES. “WATER BEARER WITH YOUNG LADY”. AFTER MOD...

Enameled porcelain figurines. “Water carrier with young lady”. Inspired by models from the Manufacture Nationale de Sèvres. The young lady is carrying a basket of flowers and is dressed in high-class clothing in the fashion of the 18th century. The young water carrier is similar in style, carrying a large container on his back with a spout on his right for filling glasses. The high quality of the enamelling, the flowers in relief, the bases and the bucolic theme relate the works to examples made at the Manufacture Nationale de Sèvres (France). Weight: 1.8 kg

· Size: 10x10x27 cms.
DECORATION
PORCELAIN

Ref.: S4832
PAIR OF PORCELAIN FIGURINES. “MUSICIAN PEASANTS”. AFTER MODELS FROM TH...

Pair of enamelled porcelain figurines. “Peasant musicians”. Inspired by models from the Manufacture Nationale de Sèvres (France). Both figures are dressed in the fashion of 18th century peasants, but very idealised and with mixtures of upper class clothing. This type of bucolic scenes or figures were highly appreciated in Rococo art, and have since been produced in the main porcelain factories of Europe. The enamelling and the type unite the works with the Manufacture Nationale de Sèvres (France).

· Size: 8x8x23 cms.
DECORATION
PORCELAIN

Ref.: S4819
TURQUOISE BLUE VASE WITH HANDPAINTED SCENE. “APHRODITE AND ANCHISES”. ...

Turquoise blue vase with hand-painted scene. “Venus and Anchises”. Inspired by models from the Manufacture Nationale de Sèvres (France). The vase has two handles with vine leaves and bunches of grapes and decorative elements rooted in classicism. It has been highlighted by a base with four legs in the form of scrolls and shows plant elements in relief. The hand-painted scene on its front shows Venus with her lover Anchises, the union from which Aeneas was born, one of the main characters of the Trojan War and considered the ancestor of Romulus and Remus. The work is inspired by models from the Manufacture Nationale de Sèvres (France).

· Size: 45x34x84 cms.
DECORATION
PORCELAIN

Ref.: S3123
BRONZE PAX.

Bronze peace bearer. The plaque that forms this element, used in ancient times in mass to give the kiss of peace with decorum, has been decorated with various reliefs: in the lower part, vegetal scrolls, vine leaves, bunches of grapes and ears of wheat, in clear allusion to the Eucharist; a semicircular arch under a palm-shaped finial highlighted with scrolls; and, in the centre, a relief of the Deesis: Christ on the Cross, flanked by the Virgin Mary and Saint John the Evangelist. The decorative motifs of this work, like the figures, show a clear influence from classical antiquity.

· Size: 10,5x0,5x14,5 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z6658D
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
FOUR LANDSCAPES SET.

Set of four oil landscapes. Each painting depicts a different landscape, all featuring human figures, animals, buildings, and clothing reminiscent of Northern European fashion from the 18th century, or even earlier. Two of them include buildings with classical undertones (the bridge with the sculpture and that arch-like structure), but they appear as if conceived by someone who had never seen these elements in reality. While it might be assumed that the landscapes are meant to represent Italy, as this country was a popular destination for young people on the Grand Tour (which flourished between the mid-17th century and the 1820s), Price per unit

· Size: 45x35 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z6514
CIRCULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Circular table top in marble and hard stone. Inspired by Italian models from the 16th-17th centuries. In the centre of the panel, surrounded by a garland of flowers, there is a pearl necklace with a bow. Around this element, there are four vases with birds perched on branches interspersed and, further outwards, a band with vegetal scrolls. This area is framed by another with simplified scrolls and another with more elaborate ones interspersed with scallop shapes and heraldic shields, and perched birds. The fleur-de-lis on the border clearly shows the influence of Gobelins' work on this panel. The French workshop was set up to make this type of inlay for the French court, and is the heir to the native centre of “hard stonework”: the Florence of Piero de Medici and Lorenzo the Magnificent, who wanted to revive a Roman technique called “opus sectile” mosaic. Mention should also be made of the Royal Workshop of Naples and the one created by Charles III at the Royal Site of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. After 1600, the primacy of the decoration that appeared in the 15th century is clear, and elements such as birds, butterflies and pearl necklaces were added over time. The present example inherits this whole tradition: compare the table made by Francesco Ghinghi in the Real Laboratorio Delle Piedre Dure in Naples (catalogue number O00511) and the board (O00466) from around the mid-18th century, both in the Museo del Prado in Madrid, those kept in the Museo Opificio delle Pietre Dure in Florence (especially works such as the board made as a model for a table by Jacopo Ligozzi around 1610). Traditionally, a technique very similar to inlay was used, but instead of wood, using marbles of different colours and veins and hard stones (greater than 6 on the Mohs scale) such as lapis lazuli, agates, etc. In the present example, many of those used in works between the 16th and 18th centuries have been included, making it an outstanding work.

· Size: Diam. 150 cms.
DECORATION
HARDS STONES

Ref.: AWD1211 ...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop with marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. The vein of a particular stone has been highlighted by placing it in the center and surrounding it with a necklace of round and rhomboid beads. Around it, a decoration of vegetal scrolls with flowers, clearly inspired by classical art, stands out. To complete the composition, without detracting from the central area, the outer band displays a series of empty mirrors within cartouches reminiscent of those used during the Renaissance. The technique is very similar to marquetry, but it uses marbles and hard stones (over 7 on the Mohs scale) to create these designs. Desks, boards, and other objects were crafted using this "hard stone work." Lapis lazuli was typically used with a Belgian marble background, often accompanied by jade, chalcedony, and other stones. The high cost of the materials and skilled labor made these works of art so expensive that they were only commissioned by the leading houses and courts of the time, which is why today they are only preserved in prominent private collections and major museums. Piero de' Medici and Lorenzo the Magnificent began to support a series of projects in Florence to revive, with thematic and technical modifications, the Roman mosaic technique known as "opus sectile." It was during this period that the greatest decorative variety emerged, because, from around 1600 onward, naturalistic motifs came to predominate. Over the years, birds, parrots, interlacing patterns, pearls, and other elements were added. The work with hard stones was so successful that, from the 17th century onward, a number of workshops were established in Europe to continue this tradition, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples, and the El Retiro Palace in Madrid. Compare this table with other masterpieces: the “Duke of Osuna Table” (O00501) made in 1614 and kept in the Prado Museum in Madrid has an outer band that is reminiscent of this one; the “Farnese Table” in the Metropolitan Museum of New York (58.57 ad) also stands out for the veining of the stone in its central area; and some kept in the Opificio delle Pietre Dure Museum in Florence.

· Size: 180x120 cms.
DECORATION
HARDS STONES

Ref.: AWRT229 ...
SQUARED PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square table top. Marble and hard stones. Inspired by Italian models from the 16th-17th centuries. A frame of simple geometric elements and white oval shields accompanied by architectural details highlights the decorative motif in the centre thanks to its light tones. This motif, set against a dark background, is made up of plant and flower scrolls organised in lines towards the interior, camouflaged by these stems, so that, despite the abundance of decoration, the four-petaled flower in the centre stands out. The “hard stone work” used in this table is very similar to marquetry, but uses marbles and stones with a hardness greater than 6 on the Mohs scale. The idea arose in Florence, when trying to revitalize a type of mosaic used in Ancient Rome called “opus sectile” in the time of the Medici. It was so successful that other workshops soon sprang up in Europe, including the Gobelins Factory in France, the Royal Workshop of Naples and the one established by Charles III in the Royal Site of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. The present example is heir to this tradition. Stylistic influences can also be seen. Although at the beginning there was a great variety of decorative elements in these stone inlays, from around 1600 naturalistic motifs gained prominence, which became more varied over time by including butterflies, birds, fruits, etc. Compare this example with those preserved in the Opificio delle Pietre Dure in Florence, with the Roman chessboard from between 1565 and 1590 in the Museo Nacional de Artes Decorativas in Madrid (inventory CE 27144) or the anonymous Roman chessboard from before 1636 (O00470) in the Museo del Prado.

· Size: 120x120 cms.
DECORATION
HARDS STONES

Ref.: AWST91 1...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Round table top in marble and hard stone. “Vine branches and grapes”. Inspired by Italian models from the 16th-17th centuries. Circular table top with a motif of vine leaves and black and white grapes in the centre on a black background. An outer band, marked with two white lines, highlights this element and shows a variegated composition with various flowers and stems with leaves. This form of inlay, known as “hard stone work”, uses marbles of different colours and veins and stones with a hardness of over 6 on the Mohs scale. Lapis lazuli and Belgian black marble were often used for the backgrounds and, as was often the case with these materials, they had to be imported, hence the high price these works fetched. Desks, furniture, vases, plaques, etc. were made for the high aristocracy and the courts in various European workshops. The technique was born in Florence, thanks to the interest of Piero de Medici and Lorenzo the Magnificent in revitalising a Roman mosaic technique (opus sectile). From 1600 onwards, naturalistic motifs were preferred over other themes and other important production centres were established: in France, the Gobelins Factory; the Royal Workshop of Naples took over from the Florentine one when the Medici disappeared; in Spain, Charles III established another one at the Royal Site of El Buen Retiro, which disappeared at the beginning of the 19th century. The present example is inspired by this tradition. Compare with works in important collections: those kept at the Museo Opificio delle Pietre Dure in Florence, the table in the Museo del Prado in Madrid made by Francesco Ghinghi at the Real Laboratorio Delle Piedre Dure in Naples (catalogue number O00511), or the panel “Parrot perched on a pear tree” created in the workshops of the Grand Duke of Tuscany in Florence and kept at the Kremlin Museum in Moscow (Russia).

· Size: Diam. 120 cms.
DECORATION
HARDS STONES

Ref.: AWD13 D1...
RECTANGULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular table top in marble and hard stone. Inspired by Italian models from the 16th-17th centuries. Two axes of flowers flanked by vegetal scrolls facing each other and arranged geometrically are placed in the centre. This motif is framed by a white line that forms rhombuses on the shorter sides, together with another blue line. Towards the outside, another band leaves square spaces in the corners with simplified flowers and simple scrolls. A wide blue band and a narrower white band remain towards the outside. The technique known as “hard stonework” is similar to marquetry, but uses marbles of different colours and stones with a hardness greater than 6 on the Mohs scale instead of wood. It originated in Florence, with the attempt made by Piero de Medici and Lorenzo the Magnificent to revitalise an ancient Roman mosaic technique called “opus sectile”. It was so successful that workshops multiplied throughout Europe, including the Gobelins Factory in France, the Royal Workshop of Naples (which took over from the Medici workshop) and the one established in the Royal Site of El Buen Retiro in Madrid by Charles III, which had the support of quality local specialists but was closed by Napoleon in 1808 and destroyed in 1812. The objects produced (desks, tables, vases, plaques, etc.) initially showed a great decorative variety, but from around 1600 onwards, a clear predominance of naturalistic elements over geometric ones was noted: flowers, fruit, birds, pearls, butterflies, etc. The present example is heir to this tradition, as can be seen by comparing it with works such as the table in the Prado Museum in Madrid made by Francesco Ghinghi at the Real Laboratorio Delle Piedre Dure in Naples (catalogue number O00511), or the board from the late 16th or early 17th century created in Rome (inventory 62,259) in the Metropolitan Museum in New York, or those kept at the Museo Opificio delle Pietre Dure in Florence or the examples in the Museo Nacional de Artes Decorativas in Madrid. However, it is worth highlighting the update towards more contemporary tastes that can be seen in the geometric interplay created with the white and blue bands.

· Size: 150x90 cms.
DECORATION
HARDS STONES

Ref.: ZAAWRT35...
MIRROR WITH ROCOCO INFLUENCED FRAME. 20TH CENTURY.

Mirror with a gilded wood crest. 20th century. Rectangular mirror with a decoration based on carved plant elements and a lattice motif under a plant shape. The curves drawn by the leaves show the influence of Rococo models in the creation of this work, the movement being greatly softened thanks to the straight lines of the frame. These rocailles are also located in this kind of latticework.

· Size: 60x15x90 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z1259
ANATOMIC BONE MODEL. CA 1950.

Anatomical model of the skeletal system. Circa 1950. On a square base and supported by a metal rod stands the skeleton, an anatomical model of human bones widely used since the 18th century in Faculties and Schools of Surgery, Medicine, etc.

· Size: 35x35x160 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z2676
ENGRAVINGS COLECCTION BY GUSTAVO DORÉ (1832-1883). “MADRID, GRABADOS D...

Collection of engravings by Gustave Doré (1832-1883). “Madrid, Engravings by Gustave Doré”. Special edition directed by Antonio de Horna. Madrid, Culture and Art Collection, De Horna Editores. Compilation of engravings directed by Antonio de Horna made by Gustave Doré, a great draughtsman and engraver known, above all, for his work for an edition of “Don Quixote”, published in London in 1880, which was very well received by the public. Successful in France, he moved to live in England, where he was even more appreciated for his visions of the Victorian costumbrista environment of the mid-nineteenth century. Antonio de Horna, in this same book, accompanies a brief biography of the author with the intention behind this collection: “his true glory… would come to him… when his indisputable genius was recognized, captured in more than ten thousand drawings and engravings.”
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z4179A
ENGRAVINGS COLECTION. “LA TAUROMAQUIA DE GOYA” (GOYA’S TAUROMAQUIA). S...

Collection of engravings. “Goya’s Bullfighting”. Special edition directed by Antonio de Horna. 1815-1983. Madrid, Culture and Art Collection, De Horna Editores. 39 sheets. Antonio de Horna directed this compilation of the series of engravings of La Tauromaquia by Francisco de Goya (1746-1828), composed of 39 engravings and published for the first time in 1816, together with another eleven prints called “unpublished” because they did not appear in that first edition. He apparently wanted to use it to illustrate passages from “Historical Letter on the Origin and Progress of Bullfights in Spain”, a work by Nicolás Fernández de Moratín from 1777, to which he added personal memories and some famous incidents from the painter’s time.

· Size: 49,2 x 34,5 x 5 cm.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z4179B
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Walnut wood sacristy chest of drawers with carved decoration. Spain, 17th century. A cabinet with three very deep drawers, the bottom one being taller, mounted on rectangular legs and with a straight, slightly protruding wooden top. Each drawer has two wrought iron handles. The sides are decorated with simple rectangular panels of molding, while the drawers are carved in relief: the upper one with tendrils, vines, and leaves; the central one with fleshy vegetal scrolls; the lower one with three plaques, the side ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord with three knots on each side attached to two keys. It is these carvings, along with the depth of the drawers, the horizontality of the composition and lines, and the straight top, that suggest the use of the piece in a sacristy for the proper storage of liturgical vestments and, furthermore, indicate that it may have been commissioned by a Franciscan institution (note the typical cord with knots) dedicated to Saint Peter (as indicated by the two keys in the corners). Although it lacks the typical 16th-century back paneling, it does feature a front with three-dimensional carvings, typical of the 17th century, and decorative elements characteristic of the Baroque period, as well as certain remnants of earlier furniture (panels in the lower section). The carving and the quality of the panel assembly (note the tongue-and-groove joints at the corners) indicate that these were important works, intended for religious settings. The panels on the sides are reminiscent of those on the central chest of drawers in the anteroom of the sacristy of Ávila Cathedral. As in the one in the sacristy of Murcia Cathedral, it is the fronts that feature carvings in this example, which are reminiscent of others such as those on the refectory table in the collection of the Marquis of Santo Domingo (Madrid). However, simpler fronts are more common, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype, such as the chest of drawers in the sacristy of the former Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454
FRENCH STYLE COMMODE WITH MARQUETRY.

French-style chest of drawers with marquetry. The two-drawer chest stands on four cabriole legs with metal plant-themed appliqués at the bottom. It features a floral decoration with a strong Far Eastern influence, extending seamlessly across the drawer fronts and top. While the forms are clearly French in style, the decoration lends a modern touch.

· Size: 123x56x84 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E539
CLASSICAL CORBEL. MARBLE DUST.

Classic corbel in marble dust. Under a simple moulding, a scroll with an open centre has been placed, revealing a curved shape in another colour whose lines it follows. This two-colour scheme can be seen in other architectural details of the corbel, such as the oval shield with scrolls in the lower area, or the three drops in the centre. Although the inspiration in elements from Antiquity is clear, these have been used freely, giving rise to a highly original work of art.

· Size: 50x37x67 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z0806
PORCELAIN VASE. AFTER MODELS FROM THE MANUFACTURE NATIONALE, SÈVRES

Vase in glazed porcelain. Inspired by neoclassical models from the Manufacture Nationale de Sèvres. The vase is decorated with classical elements. Its lines have been highlighted by gilded bronze applications with motifs inspired by Neoclassical art (and therefore by Antiquity): female grotesques on the handles topped with vegetal volutes, flowers, openwork vegetal scrolls, etc. The work is inspired by creations from the Manufacture Nationale de Sèvres.

· Size: 40x25x77 cms.
DECORATION
PORCELAIN

Ref.: S2558C
SÈVRES STYLE VASE. PORCELAIN.

Sèvres style vase. Enameled porcelain. Vase in cobalt blue with gold elements on a pedestal to which it is attached, forming a single piece. On the fronts of both parts bucolic scenes with a classical theme have been depicted: Diana the huntress on the pedestal and Venus dressed with cupids within ovals framed with gold plant motifs. The inspiration is clearly in the creations of the Sèvres Manufacture in France.

· Size: 28x28x110 cms.
DECORATION
PORCELAIN

Ref.: S2551A
PORCELAIN VASE. AFTER NEOCLASSICAL MODELS

Hand-painted enamelled porcelain vase. Inspired by Neoclassical models from the Meissen and Sèvres factories. Porcelain and bronze applications. The vase shows marked influences from classical antiquity both in its lines and in its decoration based on vegetal scrolls, garlands, strings of pearls, etc. Two scenes have been hand painted on the fronts: a Toilette and a couple of lovers, both in idealized landscapes. This type of work was highly appreciated in Europe, hence similar vases were made in the main porcelain factories. This case has many similarities with productions from Sèvres and Meissen.

· Size: 42x30x104 cms.
DECORATION
PORCELAIN

Ref.: S2562

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