Antiques -
Reference: ZE153

Altar finish. Embossed silver in its color, wood, mirrors. LLORENTE, Jose (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. Altar finial made of silver embossed in its color on a wooden core that has seven oval-shaped mirrors and profiles cut into curves and countercurves. The upper part presents a canopy imitating textiles from which a series of small bells hang and shelters a dove with outstretched wings, located in front of a venerated figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, scrolls, rockeries, oval mirrors, circular tears resembling rain, flowers, leaves, a bouquet of wheat ears next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not present reliefs but does have two mirrors. This type of liturgical goldsmith work was relatively frequent in churches, cathedrals, etc. with significant purchasing power and influence, although many of those made have not been preserved as they are valuable material that can be melted down and looted at certain times. Let us mention, highlighting the differences, the Silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestator-Sanctuary of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (the work of José Estrada y Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed before the Main Altarpiece of the Cathedral, and has a canopy and penchanting bells), an exhibitor for the Blessed Sacrament in gilded silver and in its color dated from the 18th century and found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (dove) and the cluster of ears of wheat and the vine with the cluster of grapes would link the piece with the Eucharist, possibly being a fragment of an altar (permanent or not) from a monstrance. Stylistically, the work's belonging to an already somewhat advanced Rococo is clear. The contrast marks present at various points on the silver place the creation of the auction in Vitoria (Spain), also providing an approximate date (around the 1860s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the faithful contrast) and José Llorente. Juan Sotil was a silversmith living in Vitoria who also acted as a trustee for the city (the City Council appointed him diamond and precious stones appraiser in 1751, and in 1769 as a trustee for the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Outstanding institutions such as the Museo de Arte Sacro de Vitoria (Relicario de Santa Lucía de la hermitage de Santa Lucía de Vitoria, 18th century) preserve works with his punch. José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and it is documented between 1760 and 1799. The Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc. still preserve works with his punch.

· Size: 52x26x122 cms.

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