CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOSÉ (1760-1799); SOTIL, JUAN ANTONIO (1754-1768). VITORIA, SPAIN, 18TH CENTURY.

Antiques -
Reference: ZE153

Altar auction. Silver embossed in its color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century.
With contrast marks.
Altar made of silver embossed in its color on a wooden soul that has seven oval-shaped mirrors and profiles cut in curves and countercurves. The upper part has a canopy imitating textiles from which a series of small bells hang and a dove with wings extended, located in front of a winged shape and a cloud with winged angel heads. Approximately the three upper quarters of the work show a decoration in slight relief with solar rays, scrolls, rockery, oval mirrors, circular tears resembling rain, flowers, leaves, a bouquet of spikes next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part has no reliefs but two mirrors.
These types of liturgical goldsmith works were relatively frequent in churches, cathedrals, etc. with important purchasing power and influence, although many of those made are not preserved because it is a valuable material that can be melted and subject to looting at certain times. Let us mention, highlighting the differences, the Silver Altar of the Cathedral of Seville (XVI-XVII centuries, several silversmiths), the whole of the main chapel of the Cathedral of Santiago de Compostela (XVII century), the Manifestador-Sagrario de la Catedral of Valencia of the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work by José Estrada and 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 bells pinjantes), exhibitor for the Blessed Silver and its color dated in the eighteenth century and is located 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 bunch of grapes would link the piece with the Eucharist, being possible that it is a fragment of an altar (permanent or not) of a custody. Stylistically, it is clear the belonging of the work to a Rococo already somewhat advanced.
The contrast marks present in several points of the silver place the creation of the auction in Vitoria (Spain), also providing an approximate date (towards the 60s of the 18th century) and the names of two silver masters: Juan Antonio Sotil or de Sotil (possibly the faithful contrast) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also exercised as a faithful contrast of the city (the City Council appointed him in 1751 as an appraiser of diamonds and precious stones, and in 1769 contrast of the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Outstanding institutions such as the Sacred Art Museum of Vitoria (Reliquary of Saint Lucia of the Hermitage of Saint Lucia of Vitoria, 18th century) retain their works. José Llorente was another achievement silversmith. He passed his masters exam in Burgos, and is documented between 1760 and 1799. The Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc., are preserved with their punch."


· Size: 52x26x122 cms.

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