Z. Sierra · Antiques and Decorative Objects

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WALNUT AND OAK “PROVENZAL” LOUIS XV WARDROBE. FRANCE, 18TH CENTURY.

Wardrobe in walnut and oak. Rococo, France, 18th century. Two-door wardrobe with a lower drawer with two circular die handles inside a concave disc, located on two vase-shaped front legs and two square ones at the back and finished off at the top by a fine protruding molding. The drawer and one of the doors close with a key, but do not have a lock shield. Although the absence of gilded bronze applications could indicate that the origin is not French, it is one of the so-called “Provençal furniture”. These are characteristic of that area, although not exclusive to it, and are characterized by this lack of richness in their materials and a greater simplicity in the decoration compared to contemporary French furniture from, for example, Paris. It is necessary to highlight the use of two different woods for technical reasons but, also and above all, to highlight the carvings and moldings. The upper part has a veined capital framed by a straight molding below and with marked straight lines, curves and countercurves at the top. These lines, along with volutes, are repeated symmetrically but in very marked moldings, cutting the door panels into three parts, the central one being wider. The lower area leaves the drawer between a band with two flowers and an oval above and a symmetrical vegetal and floral motif below, which accompanies the curves of the lower skirt of the cabinet. These curved lines highlighted with the adjacent countercurves are reminiscent of those that describe rockeries, and show that the furniture belongs to the Rococo style. This, in France, is also known as the Louis XV style after the monarch in whose reign it flourished. This artistic movement developed there between approximately 1730 and 1760, with great influence even after those dates and throughout Europe. Note the differences between Provençal furniture, such as this one, with courtly Rococo examples such as the designs of Juste-Aurèle Meissonier or the works of Jean-Pierre Latz, for example. Cabinets similar to the present one are preserved in the Hospice Pailloux-Haumonté (Burgundy), in the Museum of European and Mediterranean Civilizations in Paris (inventory 13058), etc.

· Size: 150x52x234 cms.
ANTIQUES
FURNITURE

Ref.: Z4846
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. XIX century. Rectangular mirror with the frame highlighted by a trim that extends along the sides. This has been formed from scrolls and seed beads, directly inspired by examples from the 18th century that follow this style. It is the straight lines inside the mirror that show that, as was common in the 19th century, elements from past styles have been taken to create works more in line with the taste of the time.

· Size: 45,5x60 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6615
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramics. Possibly Italy, 18th century. Jug with a globular body with a small base, a reduced spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of enameled ceramic and decorated with a composition in blue on White background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using several shades of blue, an important variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the Italian case and in ceramics (with this origin, usually called “maiolic”), decoration in cobalt blue on white is already found in works of Byzantine inspiration in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it is distantly inspired by Chinese porcelain works that use these colors) continues, with touches of other colors. Compare the present work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name "berrettina" is enamelled majolica from light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, in productions mainly from Liguria and Veneto. Likewise, it is worth pointing out a series of pieces with which this one has a little more relationship: a pharmacy bottle with Saint Paul (made in Savona in the 17th century, today in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Hispanic Pharmacy Museum of the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
SET OF TWO ORNAMENTAL MIRRORS. GILT WOOD. ROCCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood. Century XVIII. Pair of cornucopias of carved and gilded wood decorated with a fine molding on the inside and an elaborate composition of plant elements with distressed shapes on the outside, leaving empty spaces and with a marked asymmetry in both, tempered by carving both examples with the same decoration. This type of work was only carried out for main houses, since its main use was to reflect the light of candles and lamps in these luxurious interiors, also showing the economic power of its owners. The method of manufacturing mirrors from sheets of glass was discovered in Venice in the 16th century, and was kept secret until approximately a century later, when the role of mercury in the process was known in London and Paris, allowing the expansion of these elements. However, the use of cornucopias did not spread throughout Europe until the Rococo, and their use and creation has continued since then. From the beginning and, with the idea of showing the economic prosperity of its owner and helping with illumination, it was normal for it to be overgilded after being carved. The movement that the pieces present inside, where the mirror would go, provides a first clue to place it in an artistic style. As for its decoration, the plant elements, the braces, the curved shapes contrasting with countercurves and the distressed details refer to the clear belonging of the two examples to the Rococo, differentiating them both from the 18th century examples with greater neoclassical influence, and from those of the 19th. The asymmetry that each of the cornucopias has in its decoration refers to the beginning of this style, since, after a time, the contrasts of this artistic style were softened by placing the decoration in markedly symmetrical compositions.

· Size: 64x25x110 cms.
ANTIQUES

Ref.: ZF0276
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), around 1784-1803. Piece of tender pasta with wavy edges used to hold the stems of the glasses and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced thanks to the gilding) which frame floral bouquets with colored leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro of Madrid, established in the Spanish capital from 1760 and thanks to Charles III; This stage corresponds to “the commands” of Carlos Scheppers and Felipe Gricci, and the Italian influence continues, adding relations with other currents (English, Saxon). Weight: 2225 grams

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. Century XVIII. Landscape with a sunset located on a lake, with some mountains in the background and some trees and a hut in the foreground. Slightly animating the composition, boats of different types have been placed with characters on board, as well as two groups of constructions towards the right side of the work. The painting has numerous points in common with landscapes from European schools made towards the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
STILL LIFE WITH FLOWERS. OIL ON CANVAS. GARCÍA-OCHOA IBÁÑEZ. LUIS (SPA...

Still life of flowers. Oil on canvas. GARCÍA-OCHOA IBÁÑEZ, Luis (San Sebastián, 1920-Madrid, 2019). 1949. Signed and dated towards the lower left corner. Label on the back. Still life showing a round table covered with cloth and a series of bouquets of flowers and plants, all placed in their respective vases or pots, as well as a small object in front and several loose flowers. In the lower left area, you can see the painter's signature and the date 1949 (49). On the back there are two labels that relate the work to the XXVI Biennale Internazionalde d'Arte in Venice in 1952. One with the numbering of the painting and the other with the author's information. Luis García-Ochoa was a painter and graphic artist who became an academic of Fine Arts in Madrid. He moved to the capital as a child and worked in his father's architecture studio, training there in avant-garde art. Enrolled in the Royal Academy of Fine Arts of San Fernando, he expanded his training in France, Italy and England. Around 1942, thanks to Benjamín Palencia, he participated in the second Vallecas School, a group that served as the basis for the Madrid School. At this time his style evolved from initial cubism to expressionism. He was invited to the Venice Biennale on several occasions (1940, 1950, 1952 and 1954), participated in several National Exhibitions of Fine Arts in Madrid, in group exhibitions and individual exhibitions, etc. In 1993 he founded the School of Figurative Painters of El Escorial. His work is preserved in several private collections and in institutions such as the Reina Sofía Art Center, the Bilbao Fine Arts Museum, etc.

· Size: 94x4,5x78 cms int 80x65 cms
ANTIQUES

Ref.: ZF1110
MIRROR WITH SILVER AND ENAMELS FRAME. WOOD, GLASS, ETC. MEXICAN SCHOOL...

Mirror with cabochon frame. Silver, enamel, wood, stucco, etc. Mexican school, 17th century. No contrast marks. It has faults. Mirror with a slightly rectangular frame made of wood with polychrome areas and an embossed silver plating on stucco and enhanced with enamel cabochons with geometric elements in dark and light blue. In front there are a series of smooth moldings, one of which is the one with the aforementioned polychrome. The silver stripe is distributed around the outside of the piece, with the corners in exposed wood and smooth silver stripes (two on each side), and a decoration with a certain volume in which architectural elements of clear classicist influence are combined (in the center of which are the enamel cabochons), flanked in the most elongated areas by compositions with scrolls, volutes, plant and fruit motifs. Stylistically speaking, the work can be linked to works in the same technique carried out in Mexico, mainly in caskets. Also, as is usual due to the peninsular influence, it is possible to remember works such as the Holy Thursday Chest from the 17th century from Barbastro. Weight: 5.7kg.

· Size: 54x6x61 cms. int: 39x46 cms
ANTIQUES

Ref.: ZF1191
MAHOGANY THREE-SEAT SOFA, ELISABETH II STYLE (SPAIN), 19TH CENTURY.

Elizabethan tresillo in mahogany wood, 19th century. Three-piece chair with carved floral motifs, four cabriole legs, short curved and partially upholstered arms, and one-person oval “á la reine” backrests, linked by vegetal motifs to give continuity. The influences of contemporary French furniture are clear in all Elizabethan works, a style so called because the reign of Elizabeth II (1830-1904) was its peak moment.

· Size: Sofa: 185x110x60 cms. / 66x60x110 cms.
ANTIQUES
FURNITURE

Ref.: Z0684
MAHOGANY SHOWCASE CABINET. ENGLAND, 19TH CENTURY.

English showcase. Mahogany wood. XIX century. Showcase with shelves and two doors with glass and geometric decoration topped by a split pediment with plant decoration, which is presented on a piece of furniture with two drawers in front, four legs and a shell or shelf in the lower area of the same. Certain elements of the furniture are reminiscent of the Chippendale style, and it is worth noting the bevel-carved decoration on the drawers and top of the “table”.

· Size: 77x43x195 cms.
ANTIQUES
FURNITURE

Ref.: Z5022
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FRAME WITH MIRROR. WOOD, METAL, GLASS. 17TH CENTURY

Mirror. Carved wood. XVII century. Mirror with a slightly rectangular carved wooden frame that has a metal piece on one of its smaller sides so it can be hung on the wall. The frame has been decorated with a composition based on somewhat fleshy plant elements concentrated in the corners and in the center of the smaller sides without protruding from the moldings in which they are located, and with a series of fine and smooth moldings towards the interior. . Although plant decoration is one of the most common in Art, curves, depth, lines, etc. of which the piece presents can be linked to Baroque works of the 17th century. Currently, the value and appreciation of frames are on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have originally. Hence, similar examples are found in some paintings by masters of the time (Vermeer, for example), or can be found in important museums.

· Size: 110x90 int 68x88 cms.
ANTIQUES

Ref.: ZF0283
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BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a recessed mouth and a throne-conical body developed without discontinuity and decreasing in diameter to the base; It has two handles or “pieces” towards the smooth decorative moldings at the top. The piece presents, almost on the edge, an inscription (I AM DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Romans with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple molding above and another below. This large mortar is of the type that is usually known as “hospital” because it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples of the Spanish school during the 19th century: smooth, with moldings and, as a general rule, without those ribs (or derivatives thereof) that used to appear in the previous ones. Compare, for example, the large pharmacy mortar from the Calella Municipal Museum-Archive (with inscription, ribs and human heads as handles), a large pestle from the Hispanic Pharmacy Museum of the Complutense University of Madrid, etc

· Size: 37x34,5x25 cms.
ANTIQUES

Ref.: ZF1007
WARDROBE WITH GUN RACK. CHERRY WOOD AND OAK. FRANCE, 18TH CENTURY.

Wardrobe with gun rack. Cherry and oak wood. France, 18th century. Two-door cabinet with three drawers at the bottom, all of these elements with key closure, which also has a compartment on one side to store firearms. On the front of the lower part it has soft curves between two cabriole-shaped legs and carved details; The two doors have been decorated with Rococo-influenced moldings on their curves; It also has a molding at the top. This piece shows a clear influence of the so-called Provençal examples and the Louis XV style.

· Size: 173x68x220 cms.
ANTIQUES
FURNITURE

Ref.: Z0609
POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Carving in polychrome and stewed wood. "Saint Luke the Evangelist." Century XVI. Freestanding devotional figure of a bearded man standing, with one knee raised to support a board on which he writes. Under his left leg, a bull looks towards him, lying on the ground. The clothing reveals the golden base that forms the stew. Saint Luke is frequently represented as a mature, bearded man, accompanied by the Tetramorph animal with which he is related (Revelation 4:6-7), an element that is also due to a verse from 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, hence the back part is barely worked and polychrome, and was placed alone or as part of a scene such as a Last Judgment. Stylistically, the stew of the image and its design are details that remain from the Gothic tradition. However, the correct anatomy of the figure, the contained movement transmitted by the cloth and its posture, and the naturalism and expression of its face relate the work to the Renaissance. In Spain, this artistic style was introduced throughout the 16th century, with great differences according to regions and artists. After a first stage in which strong medieval influences were still maintained, the second third of the century saw the introduction of Mannerism by artists who had traveled to Italy and returned with the news. It is with this second stage that the carving is most closely related, without forgetting the medieval details that it still maintains and the content of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists Saint Luke and Saint Mark from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and restoration of polychrome.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Processional cross finish. Ormolu. Twentieth century. Latin cross with straight arms with decoration of tongues between moldings on both fronts, rays at the intersection of the arms, and multi-lobed finials recalling the flordelisados decorated with flowers and palmettes at the ends; on the obverse, crucified Christ with a nimbus of rays and a cloth of purity; On the reverse, Virgin Mary with nimbus standing, in an attitude of prayer. Knot composed of several elements (moldings of different radii, etc.) among which a circular central body stands out, enhanced with small crests and reliefs with the four Evangelists accompanied by their element of the Tetramorphs and located in landscapes. As can be seen from several elements, the piece is inspired by styles of the past.

· Size: 56x36x108 cms
ANTIQUES

Ref.: ZF0612
WHEELCHAIR, 19TH CENTURY.

Cart for the disabled, 19th century. Car with upholstered seat and two cushioned wheels in the rear and a smaller one, steerable by means of a crank, in the front. The footrest has been decorated with geometric marquetry studded on the outside. It is necessary to highlight the state of conservation.

· Size: 180x83x100 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0713
GILT BRONZE GUÈRIDON, FRANCE, NAPOLEON III, CA THIRD THIRD OF THE 19TH...

Gueridón display case in polychrome and gilded bronze, France, Napoleon III period, around the third third of the 19th century. The small circular table shows a transparent glass top, which reveals the upholstered interior, and the waist decorated with classically inspired garlands on a gold background. The only foot of the furniture rests on three curved legs, decorated with openwork circles and finished with claws. The quality, its simplicity of lines, and the decorative elements place the work in France, during the government of Napoleon III (1808-1873).

· Size: 33x33x87 cms.
ANTIQUES
FURNITURE

Ref.: Z3090
TABLE FOR SPANISH DESK. PINE AND BEECH TREE WOOD, IRON. 18TH CENTURY.

Bargueñera table with Solomonic leg. Pine and beech wood, iron. Century XVIII. Rectangular table top made of pine wood and beech wood legs turned in the shape of Solomonic columns, which are joined, two by two, by means of a lower chamber also carved in Solomonic wood with a die in the center, from which the curved fasteners emerge. in iron.

· Size: 148x58x78 cms.
ANTIQUES
FURNITURE

Ref.: Z4759
BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1846.

Mortar with inscription. Bronze. Spain, 1846. Mortar made of bronze with a recessed mouth and a throne-conical body developed without discontinuity and decreasing in diameter to the base. The piece presents an inscription (“soi de don Gregorio goia ano 1846”) in capital letters with spaces between them and two areas with lines flanking the text in the upper and lower areas, referring to the owner of the mortar and the year in which it was manufactured. the same. Compare, for example, with the large pharmacy mortar from the Calella Municipal Museum-Archive (with inscription, ribs and human heads as handles), a large pestle from the Museum of Hispanic Pharmacy of the Complutense University of Madrid, etc

· Size: 25x25x30 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: Z5727
CARVED GOLDEN WOOD CHEST. 18TH CENTURY

Chest from the 18th century. Carved and gilded wood. Chest from the 18th century with a still clearly Baroque structure, with a wavy profile with bulges in elevation, but already decorated with Rococo details, even organized in an asymmetrical composition unthinkable in the Baroque. It has a chest structure, with cut skirts, volute feet curled inwards (still baroque, in Rococo they will curl outwards) and a vaulted lid. The decoration is carved in bas-relief, the different motifs highlighted on a nuanced, irregular background, which enhances its relief. This type of work is inspired by silversmithing, a decorative resource widely used in baroque silversmithing, precisely to reinforce the three-dimensional impression of the motifs worked in very low relief. Although these motifs are rigorously organized in boxes, in the Baroque manner, they are now clearly Rococo. Thus, on the front of the base we see a totally asymmetrical composition, composed of rockery crests, “S” braces and plant details, perfectly framed within the Rococo style. On the sides we see similar motifs that, although simpler, respect the compositional asymmetry that is a hallmark of full Rococo. The lid also presents rich Rococo ornamentation, in this case worked with a less obvious asymmetry.

· Size: 46x25x34 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5862
SILVER FRUIT BOWL 18TH CENTURY .

Cordoban save in silver, 1759-1768. With marks. Weight: 820g. Rococo style silver save, with punches from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised grooves and other simple classical motifs, already announcing the change in language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very oblong trapezoidal frame and surmounted by a fleur-de-lys in a trilobed projection. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing of the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only local but from the entire Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Córdoba silversmithing will take place, in fact, in the last quarter of the 18th century, through the so-called master fair silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fair silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
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INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

Child Jesus. Carved and polychrome wood. Flemish school, towards the first half of the 16th century. Baby Jesus with polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially golden orb. It is necessary to highlight the shallow depth of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area on the back of the pedestal that the sculpture has, which would coincide with the part that would be attached to the altar , wall, etc. It should be noted that the hair curls are arranged in the usual way in the type on the back, but those on the front are somewhat peculiar. Reflecting the new “modern devotion” of the time, these figures of Children Jesus were usually used in private oratories (homes, convents, etc.), showing the desire of the time to emphasize the humanity of Christ and a possibly widespread particular cult. by the Dominicans. These small figures, prestigious but relatively affordable, had great success outside the Netherlands, with those made in Mechelen being the best considered, and with Spain being a very frequent destination for the “dolls or dolls of Mechelen” (Virgins, Children of Jesus , etc.). They were works that, on many occasions, bore marks, thus highlighting their origin. Within the stages into which Mechelen's production is usually divided, there is talk of a third in which the production of pieces intensifies (the majority of preserved works correspond, therefore, to this period), but, curiously, the Children (which until now were the second piece most often manufactured and requested by customers) move to third place, being surpassed by Santa Ana. The measurements are usually between 35 and 37 centimeters high in the classic format (with a depth of between 7 and 8 centimeters) and 29 to 30 centimeters in the smallest format (with a depth of between 4 and 7 centimeters). Their appearance is thinner, with facial features that are sometimes already angular (they continue to be made “round” following previous models, but these are more schematic now), and they occasionally place a cushion under their feet. This stage is dated between 1515 and 1535. Compare, for example, with a Child from the Louvain-la-Neuve Museum (inv. VH552), or with the base or pedestal (similar lines) of that from the Museum of the Hôpital Notre-Dame à la Rose (inv. 0108). Above all, we must remember one in the Museo voor Religieuze Junst (Inv. 0011) with the base with cushion on an architectural form due to its elongated shapes, located in the period of intensification of production. The arrangement of the hair resembles that of the Museum of Fairs, dated around 1500, and that of the Quinta das Cruzes Museum (inventory MQC 2307).

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. Devotional image of a round shape carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and mantle, with a parted beard, brown hair and a large sword, its main iconographic attribute. In the Middle Ages, numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. However, Saint Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role it occupies in art is not proportionate to its importance in the spread of Christianity. In early Christian art his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom. Once the clash between tradition and modernity was overcome, and the arrival of the influences of the Italian Renaissance in Spain, the 16th century would be characterized by the great development that religious imagery achieved. Likewise, stylistically there will be a confrontation between the classicist sculptors and those of Flemish affiliation, who were looking for more dramatic and emotional approaches. In this way, the dissemination of the religious image in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constitutes a clearly differentiated alternative to the Italian classicist model; on the other hand, that the emotional sense, which due to its own function the religious image must acquire, will be oriented more to enhance the feeling, to move the faithful, than to follow the rationalist dictates of the Renaissance. So much so, that in Spain the attention to the emotional was more relevant than in the rest of Europe. In this way the image, associated with the word of the preachers, was the most suitable instrument for the indoctrination of the people and for the defense of the canons of the Church, following scholastic and non-humanistic approaches.

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
ORNAMENTAL TOP, POLYCHROMED AND GILT WOOD, 18TH CENTURY.

Finish in carved, polychrome and gilded wood, 18th century. Painted finish imitating marble decorated with scrolls and carved and gilded plant motifs on its front surface. It would be part of a larger work such as an altarpiece, and the quality of its work and its polychrome stand out. The volume of the carving and the movement that its curves provide relate this finish to the Baroque, recalling in some details the Rococo.

· Size: 20x87x37 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z2626