Altar top. Embossed silver in its colour, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast marks. Altar top made of embossed silver in its colour on a wooden core with seven oval-shaped mirrors and profiles cut in curves and counter-curves. The upper part has a canopy imitating textiles from which hang a series of small bells and shelters a dove with outstretched wings, situated in front of a ventral 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, rocailles, oval mirrors, circular tears resembling rain, flowers, leaves, a bunch of ears of wheat next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not have reliefs but does have two mirrors. This type of liturgical goldsmith's work was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made have survived because they are valuable materials 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 Manifestador-Tabernacle of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work of José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed in front of the Main Altarpiece of the Cathedral, and has a canopy and pendant bells), a display for the Blessed Sacrament made of gilded silver and in its colour dated in the 18th century and which is found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (a dove) and the bunch of wheat ears and the vine with the bunch of grapes would link the piece with the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a Rococo that was already somewhat advanced. The hallmarks present in various parts of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 18th century's 60s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also worked as a hallmark for the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and hallmark for the city in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works with his hallmark are preserved in prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Santa Lucía from the hermitage of Santa Lucía in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works with his punch are preserved in the Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc.
· Size: 52x26x122 cms.
ANTIQUES
MISCELLANEUS;SILVER
