Results 145 to 168 of 1466

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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
COMMODE. CARVED WOOD. 16TH CENTURY

Chest of drawers. Carved wood. 16th century. Restorations. A chest of drawers with a carved wooden front in its natural color features two drawers with metal handles and lock escutcheons above two doors with similar handles and locks, and a carved top. The figurative elements (male and female busts) appear within plain tondos, with simple geometric elements defining the rectangular areas they occupy. The sides have simpler carvings based on plain moldings, and the lower section displays a wave-like pattern. This type of figurative bust is very common in the European Renaissance (compare, for example, Calderón's Plateresque carvings made in 1524 in the choir of Sigüenza Cathedral, 16th-century Portuguese writing desks, the sides of the Azay-le-Rideau chest in the Louvre Museum in Paris, etc.), with the surrounding elements typically varying within tondos. The shape of the piece of furniture is also noteworthy, as it is not entirely typical of the Spanish school of the period.

· Size: 150x60,5x161 cms.
ANTIQUES
FURNITURE

Ref.: ZF1317
WOODEN NICHE. POSSIBLY SPANISH SCHOOL, 18TH CENTURY.

Niche. Carved and polychromed wood. Possibly Spanish school, 18th century. A niche for a table, crafted from carved, polychrome, and gilded wood, features a front door with a key lock and gilded wooden elements, as well as a finial at the top. Two side openings allow a view of the interior. Vegetal motifs adorn the corners of these openings. Stylistically, subtle Rococo influences are evident alongside a strong Baroque tradition.

· Size: 55,5x38x74 cms, int: 42x30x65 cms.
ANTIQUES
FURNITURE

Ref.: ZF1363
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WROUGHT IRON FIRE PIECES. SPANISH SCHOOL, 19TH-20TH CENTURIES.

Eight wall slabs. Wrought iron. Spanish school, 19th-20th centuries. Eight wrought iron wall slabs, two of which have engraved decoration on the piece, five have a decorative openwork element of vegetal or architectural reminiscence inspired by older models and one has a signature and date (Zoilo Porras . . 1926) perhaps alluding to the place and time in which the piece was made.

· Size: 17x17x9 cms.
DECORATIVE ANTIQUES
WROUGHT IRON;MISCELLANEUS

Ref.: Z4888
IRON PIECES FOR TABLE. 20TH CENTURY.

Pair of guarantors. Iron. 20th century, following antique models. Pair of iron table braces of Castilian type with a slightly curved shape, balustraded profile and discs as decoration, following models common in the Spanish school of cabinetmaking of the 17th century.

· Size: Long. 93 cms.
DECORATIVE ANTIQUES
WROUGHT IRON;MISCELLANEUS

Ref.: Z4885
LACQUER TRAY. JAPAN, POSSIBLY 19TH CENTURY.

Lacquered tray. Japan, possibly 19th century. An oval tray lacquered in dark red with a raised rim and decorative elements in various shades, most notably gold, forming flowers, stems, and butterflies. It is very similar to pieces made in Japan at the end of the Edo period or during the Meiji era, but also to more or less contemporary Chinese works.

· Size: 46x75 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5443
FRAMED DRAWING. JULIO VIDAURRE. 1974.

Framed drawing, “Colegio Base”. VIDAURRE JOFRE, Julio (Madrid, 1926-2004). 1974. Titled, dated and signed (lower right area). A framed black and white drawing depicting a building in a distinctly modern style. Julio Vidaurre Jofre was a Spanish architect who received numerous awards throughout his career (National Architecture Prize in 1971, etc.) and carried out numerous projects for educational centers in cities such as Madrid, Vitoria, Alicante, Guadalajara, etc. He also restored the Cistercian monastery of Villaverde de Sandoval in León, the Romanesque tower of the Holy Sepulchre in Toro, Zamora, and other buildings.

· Size: 51x2x54 cms. int. 40,5x41,5 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: ZF136830
TABLE CLOCK. BRONZE, STONE. 1990S, AFTER AUGUST MOREAU.

Table clock. Bronze. 1990s, following designs by August Moreau. In working order. Table clock with a raised base and gilt bronze legs, following 19th-century designs, and a white dial with Roman numerals for the hours. It is topped with a bronze child figure based on a design by Auguste Moreau (1834-1917), a French sculptor known especially for his delicate and naturalistic works within the Art Nouveau movement, of which he was a leading figure. He created busts, figures, and small sculptures, and his designs were subsequently adopted by many other bronze sculptors due to the artist's success and the quality of his pieces. Weight: 22 kg.

· Size: 35X22,5X64 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1410
ENGLISH CABINET. MAHOGANY PALM…

English display case. Mahogany palm, lemongrass... English school display cabinet made of mahogany and lemonwood with a fabric-lined interior and a half-height shelf. Three sides feature clear glass.

· Size: 71x40x156 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF0900
LANDSCAPE, FOREST. OIL ON BOARD. 20TH CENTURY.

Landscape; Forest. Oil on panel. 20th century. Sketch or study of a wooded landscape presented horizontally, highlighting the straight lines created by the trees with a distinctive brushstroke, a predominance of color over drawing, etc. The work exhibits characteristics typical of pieces influenced by certain avant-garde artistic movements that emerged in Europe from the late 19th century onwards. Weight: 2.25 kg.

· Size: 45x6x55 cms. int: 25x35 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z4170
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

"Meeting of Saint Dominic and Saint Francis." Polychrome terracotta sculpture. Colonial school, 17th century. This polychrome terracotta figure with gilded details depicts two male figures on a simple pedestal. The figure on the left wears a Franciscan habit (with a small red mark on his right hand) and embraces the figure on the right in a fraternal embrace, as equals. The figure on the right wears a dark cloak (decorated with fine gold lines forming a net) over a white habit adorned with abundant flowers and gilded elements, and a star in slight relief on his forehead. These figures represent Saint Francis of Assisi, with the stigmata on his hand, and Saint Dominic, both wearing their respective habits. The story, told with remarkable economy of words (which demonstrates the quality of the work), recounts the so-called "Fraternal Encounter of Saint Dominic and Saint Francis," also known as the "Embrace of Peace" or, more colloquially and in some circles, "The Encounter." According to tradition, Saint Dominic had a vision in which Mary implored Jesus for humankind, pointing to both of them as servants of God; the following day, Saint Dominic met Saint Francis in the church in Rome, recognizing him as his companion, and they embraced and kissed. This piece still shows Baroque influence, but already hints at a certain Neoclassical influence in some details, while maintaining the distinctive characteristics of its school. Compare it, for example, with the "Embrace" in the Monastery of Santo Tomás in Ávila by Luis Salvador Carmona, dating from the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, which is in a remarkable state of preservation considering its age and the delicate nature of the material.

· Size: 14x16x26 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1398
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (lower right area). Bibliography: La Esfera Magazine (Madrid.1914), number 589 of 18/4/1925, page 28 (color illustration). Marceliano Santa María showed early signs of his artistic talent, beginning his training in this field at the Provincial Drawing Academy of Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes (Circle of Fine Arts), the San Fernando Royal Academy of Fine Arts, and in the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to study in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, where he painted and taught until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Spanish Civil War, he had to reduce his output due to health reasons, but he resumed his work after the war ended. His work was recognized with several awards (a unique medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 Spanish National Fine Arts Exhibition, the Grand Cross of Alfonso X the Wise, etc.), and is held in important private collections, as well as in institutions such as his monographic museum in Burgos (San Juan Monastery), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly regarded for his portraits, he is also known for his Castilian landscapes. This painting depicts a landscape of Valdelateja, a village in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue number 589, under the title "Castilian Landscapes" and with the title "A Corner of Valdelateja (Burgos)."

· Size: 87,5x6x108 cms. int: 70x90 cms
ANTIQUES
PAINTINGS

Ref.: ZF1404
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

The Last Supper. Oil on panel. Castilian school, 16th century. It has faults. This oil painting on panel presents a figurative image against a neutral background, with a checkered tiled floor arranged, like everything else, in a focal perspective. Around a rectangular table (with two figures at its corners, their backs to the viewer), a total of twelve figures dressed in tunics and cloaks are positioned, and in the center of the painting, another man, bathed in light. On the table, covered with a white cloth, food is arranged on plates, along with jugs, bottles, round loaves of bread, goblets, and other items. This Last Supper follows typical European Renaissance conventions (compare it, noting the differences, with Leonardo da Vinci's, painted between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence is evident, but it does not directly adhere to those models. Compare it with the Last Supper attributed to the workshop of Pedro Berruguete, circa 1495-1500, now in the Los Angeles County Museum of Art (USA), or, especially considering the lack of expressiveness in this panel, with Juan de Juanes's Last Supper of circa 1562 (Prado Museum, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the clothing of Judas (character on the left, with his back to the viewer, holding a bag of coins in his hand) and that the moment of the revelation of the betrayal of one of the disciples has been chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).

· Size: 141x10x90 cms. int. 122x73 cms.
ANTIQUES
PAINTINGS

Ref.: ZE383
SAINT ANTHONY. ENGRAVING. ALBERT DURER. LATER PIECE, POSSIBLY 19TH CEN...

Saint Anthony, reading before the gates of a city. Engraving. DÜRER, Albrecht (Nuremberg, 1471-1528). Later edition, possibly 19th century. Signed and dated on the plate. This engraving depicts the hermit saint with his usual attributes (staff with a cross, bell, hooded habit, etc.) seated, engrossed in his reading, with an imaginary city in the background. Towards the bottom of the print, one can see both Dürer's monogram and the date of the first edition of this engraving (1519). Multiple editions of this same print were produced, primarily during the 18th and 19th centuries, including some in the 20th century.

· Size: 22x0,1x17 cms. Int 14x9,5 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF136827

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