@misc{10481/89125,
year = {2015},
url = {https://hdl.handle.net/10481/89125},
abstract = {No research can never give closed. Into the context of Baroque Sculpture in the city of Málaga (Andalusia, Spain) at the XVIII century, the first of us –joined to Ph. Dr. Sergio Ramírez González in that chance- published and announced in 2007 the existence of an extended family of artists, consisting of three sculptors related by direct route, completely unknown although with an unquestionable prestige in the Andalusian artistic context of the period. To be more exact, the line started from the head and visible true benchmark family, Pedro Asensio de la Cerda. At this point if his son, Vicente Asensio, perpetuated the prestigious father's workshop in the capital, Antonio Asensio, -brother and uncle respectively of the previous ones-, was a nomadic artist whose range covers several provinces and whose production was extended for many points of the Andalusian´s geography and even being exported outside of Spain, in the case of Virgin of Sorrows located in Saint Paul´s Shipwreck Collegiate Church in  Valletta.},
publisher = {KGhaqda tal-Pawlini Valleta},
keywords = {Antonio Asensio de la Cerda},
keywords = {Escultores},
keywords = {Imaginería},
title = {The Virgin of Sorrows of St. Paul´s Shipwreck Collegiate Church in Valletta (Malta): An 18th Century Spanish Sculpture by Antonio Asensio de la Cerda},
author = {Sánchez López, Juan Antonio and Fernández Paradas, Antonio Rafael},
}