Results 121 to 144 of 1593

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HANNIBAL BARCA ORMOLU BRONZE CLOCK. FRANCE, 19TH CENTURY.

Table clock, Hannibal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris machinery and a case made of mercury-gilded bronze, with a rectangular base on four legs (the front ones decorated with scrolls and ending in a claw), decorated with a series of mouldings in relief with vegetal and architectural elements. The dial (metal with Roman numerals for the hours) is inside a square shape, in which sits the male figure that decorates the piece. A bearded man, dressed in armour (loriga or muscular breastplate) and a cape fastened over one shoulder with a fibula, rests his left arm on the helmet, holding a rolled document, and with his left hand he holds a Roman standard (another appears broken, under his foot). Note, to the right and next to a sword, a vase full of rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman, best known for his conflicts with the ancient Roman Empire. It was not uncommon for him to be depicted counting the rings of the fallen Roman knights at the Battle of Cannae (216 BC), as can be seen in the sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman standard. He is also shown with these two elements (vase with rings and standard) on a table clock in the Cagny Museum in Paris made during the French Restoration. Another piece is known, in a private collection, inspired by this clock, designed after models by Peirra-Francois Feuchère. These two models would surely have served as inspiration for the present table clock. Weight: 25 kg.

· Size: 53,5x20x76 cms.
ANTIQUES

Ref.: ZF1230
PIETRA DURA TABLETOP.

Table top. Hard stones. Table top made of carved and polished hard stones in a marquetry composition inspired, both in technique and elements, by Italian Renaissance and Baroque works.

· Size: 120x3x240 cms.
DECORATION
HARD STONE

Ref.: AM-291 2...
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in carved gilded and polychrome wood. Decoration of plant motifs with golden scrolls on a green background. 17th century

· Size: 175x160 cms.
ANTIQUES

Ref.: Z3395
CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

“Baby Jesus”. Carved and polychrome wood. Spanish school, 17th century. Later pedestal. Christ is presented naked, with a slight contrapposto in the legs and hips that give some movement to the sculpture and with delicate flesh tones. He keeps his gaze fixed forward, while raising one arm in an attitude of blessing, and holds a golden orb alluding to Creation with the other hand. His curly, blond hair has a tuft in the centre of his head. The sculpture is enhanced by a pedestal, modern but inspired by Spanish Baroque models, formed by lines with a lot of movement and decorated with architectural elements of classical influence, among which the pairs of protruding volutes from the fronts stand out. Although the forelock is reminiscent of the works of Martínez Montañés, in this example the hair is clearly curly. Compare this work with works such as those preserved in the Museum of Fine Arts in Córdoba, with one in the Municipal Museum of La Roda, some from the Royal Monastery of Las Descalzas in Madrid, etc. This type of work was made to be worn, and was normally intended for a female religious setting (it was considered that female devotion should not be directed towards certain works or iconography of the Passion because it was too strong), or some private oratory in some important residence.

· Size: 41x32x87 cms
ANTIQUES

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

Enthroned Virgin and Child. Boxwood, bronze and carved rock crystal. 19th century. On a padded base, there is a second base made of bronze, the metal from which the throne is made. It stands on four low columns with smooth shafts and capitals decorated with scrolls and simplified plant forms, decorative elements that are repeated at the waist, combined with oval blue beads; the backrest, square and openwork with very schematic scrolls, is topped with four carved rock crystal pearls. The Virgin Mary is seated on it, with a crown that repeats the decorative elements of the throne, dressed in a tunic and cloak and with a book in her hand. The Child Jesus, on her lap, also looks forward, while blessing with his right hand. The iconography comes, as usual, from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta is the one in which Mary appears seated on a throne, with the Child on her lap and both facing the spectator, showing what was agreed at the IV Ecumenical Council of Chalcedon (451 AD). These arrived in Europe already in the Romanesque, developing the iconography of the West. The present work can be compared with the Italo-Byzantine icon of the 13th century preserved in the National Gallery of Art in Washington DC (United States), or the carving of the "Virgin of the Battles" of the Monastery of San Pedro de Arlanza, made around 1225-1235, and preserved in the Museum of Burgos, or the Romanesque one from the mid-17th century today in the Museum of Fine Arts of Buenos Aires (Argentina), although there are a large number of examples. However, details such as the decoration of the capitals, the anatomy shown by the two figures, the scrolls of the throne and the crown, the folds of the draperies, a certain air in the faces despite their schematization, the symmetry present in various points of the work, etc., show that the carving belongs to a date closer to the present. Specifically, to the style known as Neo-Gothic: this was inspired by works from the 13th to the 15th-16th centuries and was opposed to the preceding Neoclassical style; it was born in England towards the middle of the 18th century, and spread throughout continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
PAIR OF LANDSCAPES, XALAPA, MEXICO. SPANISH SCHOOL, CIRCA 1840.

Landscapes, Xalapa, Mexico. Pair of oil paintings on canvas. Spanish School, ca. 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. A pair of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both show the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see “V” compositions, closed on the sides and open in the centre, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and colour, and small figures perfectly integrated into the natural setting. In addition, the skies are scenic and effective, with low clouds behind which the golden light characteristic of the classicist landscape filters. One of the most radical aspects of Romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They wanted pure landscapes, almost without figures or completely lacking them, to achieve the heroic significance of historical painting. They based their work on the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of these paintings tried to express their feelings through the landscape, instead of imitating it. Romantic landscapes had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature. This second conception is what we see reflected in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the artist's own use of light here conveys a misty, murky, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is, however, made up of very diverse manifestations that are not comparable to each other; it does not affect all national schools equally, remaining more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose British and German stage sets, the steep mountains or the monumental Gothic ruins. On the contrary, it is a flat landscape, very horizontal despite the vertical elements that close the sides in the foreground, endowed with a gentle dynamism determined by the hills and the moving clouds. The most typical elements of the romantic landscape do not appear, such as the hostile climate or the Gothic ruin, although there is a clear separation between the foreground and the background, which enhances the scenographic character derived from the effective lighting. The typical, very marked, abyss-shaped perspective is also used, complemented by a slight confusion of points of view. Thus, the bombastic perspectives of the 18th century veduta are applied here to a sober landscape, which nuances the scenographic construction of the landscape, so typically romantic. Despite these local differences, in this romanticism contained in the form, we find, however, a clearly poetic content, which goes beyond the simple representation of nature to depict nature as a reflection of the author's feelings, melancholic and dark, extremely solitary.

· Size: 66 x 80 cm; 74 x 87,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6227C
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychrome wood. Spanish school, 16th century. On one side of the piece there is a relief with the theme of the Resurrection of Christ: Jesus, dressed in the golden shroud, appears in the middle of a beam of light and clouds, standing over the tomb and raising one arm while holding with the other hand a staff topped with a cross and a flag waving in the wind; on the lower part there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Holy Host (in which a Crucified Christ appears flanked by the Virgin and Saint John in grisaille), raised by two angels; all the elements are placed on a golden background, in a space surrounded by clouds; on one side there is a piece of wood on which, originally, there would have been a bolt, and on the other there are remains of two hinges. It is this element that makes one think that the relief was surely a door of a Tabernacle. The piece follows a decoration that is common in Renaissance and Baroque tabernacles. Compare, for example, with the 17th century altarpiece of the main altar of the church of the Monastery of Santa Isabel in Madrid, or with others preserved in private collections. The scene of the Resurrection recalls in details such as the variety of postures of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc. outstanding pieces such as the 16th century relief in Renaissance style in the Museum of the Monastery of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with varied themes, the emphasis is always on Salvation, since they are intended to contain the Holy Host.

· Size: 32x5x52 cms.
ANTIQUES

Ref.: ZF0280
NORTON MOTORCYCLE, ES2 500CC, CIRCA 1948.

Norton motorcycle, model ES2 500 CC, circa 1948 Incomplete documentation; it has circulation permits from 1958 and 1980. Norton, or Norton Motorcycles, is a British motorcycle brand founded in 1898 that ceased production in the 1990s and restarted activity in 2008. The company was acquired in 1952 by Associated Motor Cycles, becoming part of the Norton-Villiers group in 1966, and in 1972 it was integrated into the Norton-Villiers-Triumph group, following the liquidation of BSA (the former owner of Triumph). Designed by Walter Moore, the Norton CS1 engine appeared in 1927, based largely on the ES2 pushrod engine and using many of its parts. Moore was recruited by NSU in 1930, after which Arthur Carroll designed an entirely new OHC engine destined to become the basis for all subsequent OHC and DOHC Norton singles. (Moore's move to NSU prompted his former staff to joke that NSU stood for "Norton Spares Used.") The Norton racing legend began in the 1930s. Of the nine Isle of Man Senior TTs (500 cc) between 1931 and 1939, Norton won seven. After the Second World War, Norton returned to civilian motorcycle production, gradually increasing its range. A major addition in 1949 was the twin-cylinder Model 7, known as the Norton Dominator, a 500cc pushrod twin-cylinder machine designed by Bert Hopwood. Its chassis was derived from the single-cylinder ES2, with telescopic front and piston rear suspension, and an updated version of the gearbox known as a "lay-down" box. Sleeker mudguards and tanks completed the more modern styling of Norton's new premium twin-cylinder model.

· Size: 200x84x114 cms
ANTIQUES

Ref.: ZF0752
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with pass-through. Wrought iron. Spain, 17th century. Rectangular iron railing with a half-height railing, a frame and supports to keep it upright. The vertical bars have opposing balustrade shapes and a series of discs and small smooth mouldings, all arranged symmetrically around this horizontal railing. On the sides, two square bars have a series of smooth mouldings and architectural decoration with a strong classical influence. Compare, for example, with the works preserved in the Victoria and Albert Museum in London, or the confessional in the Metropolitan Museum in New York dated 1629 (inv 57.137.51) and with another from the same museum, the work of Francisco González (inv 56-234.12 Ad).

· Size: 194x61x294 cms
ANTIQUES

Ref.: ZF1308
BRONZE AND GLASS CHANDELIER.

Ceiling lamp in bronze and glass. It has three levels of lights: the upper one, with the bulbs hidden in white glass ovals decorated with leaves and blades; the lower one, with the lights connected in pairs and placed in arms with plant motifs; and another, interior, hidden in the bronze body and covered by glass ovals decorated with stars, leaving the lower part open. Throughout the body of the lamp there are plant and architectural elements, scallops and spiral and smooth rods. Antique bronze finish inspired by French models from the early 20th century.

· Size: Altura 185 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E518
OIL ON CANVAS MARRIAGE THETIS AND PELEUS

Madrid school of the 17th century. Circle of CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). “The Wedding of Thetis and Peleus”. Oil on canvas. This work describes the wedding of the Nereid Thetis and Prince Peleus, parents of Achilles. It was celebrated on Mount Pelion, and all the deities attended, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple on which was written "for the most beautiful", which caused the dispute between Athena, Aphrodite and Hera that led to the Judgement of Paris, and finally caused the Trojan War. The banquet is depicted in a highly worked composition, set in a rich interior of classical architecture illuminated by the light of Apollo, who is situated at the farthest end from the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and with Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving wine, accompanied by rich metal vessels worked with a meticulous and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground on the right and, following an agile zigzag rhythm, typically baroque, Aphrodite with Eros, Hermes and the bride and groom, on the left, and Poseidon on the right. Formally, this is a work perfectly framed within the 17th century Madrid school, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and colour take on special relevance, revealing the exalted and luminous tone typical of the maturity of this school. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. Nothing is known today about his early training, since Palomino's claim that he was born in Spain was refuted by documents, citing in his will that he was born in Antwerp. Documents are also preserved in which the painter declares his apprenticeship in Flanders, where he “practiced his trade for many years”. For all these reasons, he has been related to Flemish artists of the time who, due to personal knowledge or the study of their works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at court encouraged him to apply for the position of royal painter left vacant by Bartolomé González in 1627, an objective which he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim that he was the king's painter. However, he enjoyed moderate success in the capital of the kingdom, with his works being found in numerous noble inventories of the time. At the same time, he received royal commissions, such as the cycle of biblical stories that he painted for the Buen Retiro palace. His activity, according to his own confession, focused on "architectures, battles and countries", genres in which he was highly valued by his contemporaries. One of the most interesting characteristics of his style is the fact that he frequently dealt with mythological themes which, brought to the canvas in different cycles, offer us a singularly majestic panorama of a theme that was not very common in the painting of Spain at the time. Another of the outstanding aspects of his work was the proliferation of architectural perspectives clearly linked to Nordic writers, among whom Vredeman de Vries stands out in particular. His pictorial style remained anchored in earlier traditions, demonstrating an evident modesty and archaism, but the uniqueness of the subjects he dealt with makes him worthy of remembrance. Juan de la Corte is represented in the Museo del Prado, the Marítimo in Barcelona, the Cerralbo and the Municipal in Madrid, among others.

· Size: 97 x 122 cm; 116 x 143 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6297
CHANDELIER WITH 32 LIGHTS, BRONZE WITH PATINA.

Chandelier with 32 lights, bronze with antique finish. The pole that holds it to the ceiling is decorated with architectural motifs and a shape in the centre resembling a canvas pavilion, placed on an Ionic capital from which hang garlands. The thirty-two lights have been grouped three by three in eight longer arms in the shape of a Y and eight shorter ones with a single light, all decorated with scrolls and plant elements. The central core, shaped like a vase, also has plant and architectural motifs inspired by classical antiquity.

· Size: 120x120x130 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E517
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Dining table in walnut wood with Solomonic leg, 20th century. Dining table with a two-piece topped top on legs with Solomonic turning and chambrana joined to it with curved wrought iron fasteners, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

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

Spanish table with lyre leg and iron fasteners, 18th century. The two lyre legs that support the work have wavy lines at the bottom and shapes on the sides that recall those of French cabriolets. Both are joined with an iron fastener and support a single-piece board with carved edges. This type of leg, called lyre legs due to their resemblance to the musical instrument, was widely used during the Renaissance, and continued to be used later due to the movement that their curved profiles provided to the piece of furniture.

· Size: 73x103x220 cms.
ANTIQUES

Ref.: Z6146
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. Quartered shield with seven Moorish heads facing the centre, adorned on the border and a bird on the crest. The first quarter is checkered or chequered with chains in orders of three and five; the second quarter is quartered with towers and chevrons with a pendant; the third quarter is a saltire bordered with seven saltires of Saint Andrew; the fourth quarter is with three horizontal bands. It is crowned by a feathered knight's helmet facing left, and is flanked by a composition of grotesques with busts, volutes and architectural elements on the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to models common in the 17th century, maintaining a marked classicism. Compare, for example, with the one in the Casa de Begoña de Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES

Ref.: ZF0793
PAIR OF MARBLE SPHYNX.

Pair of sphinxes in travertine marble. Although this mythological winged animal with a lion's body and a female head is found in ancient Egyptian art, the idealization, proportions and lines of the sculptures relate them much more to neoclassical examples of 19th century Europe, especially since Napoleon's campaigns on the banks of the Nile River.

· Size: 120x51x85 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0087
CARRIAGE, “JARDINERA” TYPE.

Gardener type carriage. An open four-wheeled carriage with leaf springs and a raised davit, with a baluster box allowing 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
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
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TABLE WITH SOLOMONIC SHAPE. WALNUT, METAL. 20TH CENTURY.

Table with Solomonic leg. Walnut wood, metal. 20th century. Rectangular table made of carved walnut wood with legs and decorated jambs combining smooth rectangular cubes and areas shaped like a Solomonic column between discs. The table top is secured to the jambs by means of two iron fasteners, following both the decoration and this detail of models common in antique Spanish furniture (mainly 17th and 18th centuries).

· Size: 104x247x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6506
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LOUIS XV STYLE CHANDELIER, TWELVE LIGHTS. GLASS, BRONZE. SIGNED. BACCA...

Louis XV style chandelier; twelve lights. Glass, bronze. Baccarat, France, 19th century. Signed. Adapted to electric light. Chandelier with a golden metal body as an axis from which a series of rods of the same material branch out in different positions, creating a composition of several floors and giving space for the points of light and the elements of white transparent glass. These come in a wide variety of shapes and sizes (star-shaped or flower-shaped; others have a complex design and are engraved with a Greek cross on the lower part of them; there are others with vase-shaped shapes; saucers that were originally under the candles and are now under the rods of the light bulbs), combining smooth areas with other striped and engraved ones. The metal arms have hardly any decoration, thus giving prominence to the glass; in this same material there are polygonal “saucers” under the points of light, a crown in the upper area of the lamp, etc. It has three points of light wrapped in lampshades facing downwards, another three points of light facing upwards in an inner circle, and six more in the outer area. The French Baccarat factory received its first order in 1823, thus beginning a long series of works for royal houses, heads of state, etc. around the world. The first of many accolades would come in 1855 when it was awarded the Gold Medal at the World's Fair in Paris. Between 1846 and 1849 the manufacture marked some of its finest crystal items with the letter “B” and the year in which the piece was created. Crystal production expanded during this period, and earned the firm a well-deserved international reputation for quality glassware, with pieces such as candlesticks and perfume bottles. By 1860 the manufacture began marking its products with a trademark, usually engraved on the base of the piece. During the second half of the 19th century, the Imperial era ended with the fall of Napoleon III, and trends outside French art began to have a significant influence on the company's work (particularly Japanese, a key influence on the development of French decorative arts at the end of this century). During these years, the factory also grew significantly on the Asian continent (India received some of the most striking orders...), and the production of perfume bottles became one of the most important for Baccarat (by 1907 production was around four thousand bottles a day). In 1936, Baccarat began to engrave its work with acid and the shot-blasting technique. Today, historical Baccarat pieces can be seen in the museum that bears its name in Paris, in prominent residences in Europe and Asia, etc.

· Size: 90x90x130 cms.
ANTIQUES

Ref.: ZF0279
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 stipes-shaped legs decorated with plant motifs and arranged on a dado; these are joined in the centre by curved frames with plant elements. The waist has, on each side, a central motif formed by a circle with a flower and plant motifs on the lower part that develop towards the sides of the same and extend visually over the entire side, 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 in elements of Antiquity.

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

Ref.: E325
PAIR OF BRONZE LIGHT STANDS WITH LADIES

Figure made of bronze, representing a woman holding a large thirteen-armed candelabrum. The base is formed by a pedestal decorated with a floral garland resting on lion's claws.

· Size: 60x60x252 cms.
DECORATION
BRONZE SCULPTURES

Ref.: V7001A
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES

Ref.: ZF0757

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