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Francisco or Juan Antonio García de Echevarría. Vitoria. 1769-1779. Marked ECHA/VA/RRIA and SO/TI[L]
1/5
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Description
Cast and chased silver platter for a pitcher with relief and picado de lustre (a patterned effect achieved using small chisels or burins). Francisco or Juan Antonio García de Echevarría. Vitoria. 1769-1779. Marked ECHA/VA/RRIA and SO/TI[L].
Diameter: 44,5 cm.
Weight: 1.820 gr.
As Doctor Esteras notes in her study, this is a: "Circular plate with a wide and flat edge which is decorated with thirty-two scallop shells resting on a bed of leaves in "picado de lustre" and arranged in a radial direction. The bottom centre is crossed by another thirty-two helicoidal ribs which reach to and begin to invade the edge, which is placed on them. The raised bottom centre is an imitation of a large flower which is made to surround the exterior with a double trim of festooned leaves, followed by a step moulded with beads of dead leaves and the branch, deep-set and decorated with a large trefoil. Relief and chisel chasing predominate in the ornamentation." With regard to the origins of this platter, Dr. Esteras notes that it is lucky that the piece is stamped with a quite well imprinted regulatory mark, which allows us to locate, attribute and date it with certain precision: "These three marks lead us to the city of Vitoria, as the mark of the castle with two crows over the battlements at each end and two back-to-back lions holding up the architecture are unmistakable." She also notes that the mark SOTIL (of which the final L is missing because of a flaw in the stamp) is the personal mark of the silversmith Juan Antonio Sotil who was named guardian of the craft of the city on the 10th July 1769, a position he continued to fill until 10th December 1779. It was he who hallmarked the platter.
With regard to the silversmith who made the platter, the mark CH/VA/RRIA alludes to the surname Echevarría, but as Dr. Esteras notes, there are several silversmiths active during this period with this surname who could have made the platter. Linked with the chronology of the hallmarker Sotil, she deduces that the silversmith could have been either Francisco García de Echevarría, or his brother, Juan Antonio García de Echevarría.
The explanation Dr. Esteras gives with regard to the information that this platter tells us about the origin of this type of pieces is very interesting. She notes: "the lineage of the conception of the body worked with helicoidal tubes reaching out onto the edge can be identified with examples from the late 17th and early 18th century which originated in the Viceroyalty of New Spain (Mexico). The appearance of this platter from Vitoria opens up the possibility of rethinking the attribution of other platters (known or unknown) which follow the same model and which are not marked or documented. They are thought to be Mexican but they could in fact have been made in workshops in peninsular Spain."
Finally, we must underline the importance of this platter, because, as Dr. Esteras points out, civil silverware made by the smiths of Vitoria are practically unknown, although religious pieces are known. This means that this platter which is on view in the auction is important for the unusualness of its provenance and also because it is a model which had not been registered until now as being from the peninsula, as well as for its size and generous weight and the great quality of its execution, with skillful technique. It is also in an excellent state of preservation.
Accompanied by Dr. Cristina Esteras Martín’s study.
Diameter: 44,5 cm.
Weight: 1.820 gr.
As Doctor Esteras notes in her study, this is a: "Circular plate with a wide and flat edge which is decorated with thirty-two scallop shells resting on a bed of leaves in "picado de lustre" and arranged in a radial direction. The bottom centre is crossed by another thirty-two helicoidal ribs which reach to and begin to invade the edge, which is placed on them. The raised bottom centre is an imitation of a large flower which is made to surround the exterior with a double trim of festooned leaves, followed by a step moulded with beads of dead leaves and the branch, deep-set and decorated with a large trefoil. Relief and chisel chasing predominate in the ornamentation." With regard to the origins of this platter, Dr. Esteras notes that it is lucky that the piece is stamped with a quite well imprinted regulatory mark, which allows us to locate, attribute and date it with certain precision: "These three marks lead us to the city of Vitoria, as the mark of the castle with two crows over the battlements at each end and two back-to-back lions holding up the architecture are unmistakable." She also notes that the mark SOTIL (of which the final L is missing because of a flaw in the stamp) is the personal mark of the silversmith Juan Antonio Sotil who was named guardian of the craft of the city on the 10th July 1769, a position he continued to fill until 10th December 1779. It was he who hallmarked the platter.
With regard to the silversmith who made the platter, the mark CH/VA/RRIA alludes to the surname Echevarría, but as Dr. Esteras notes, there are several silversmiths active during this period with this surname who could have made the platter. Linked with the chronology of the hallmarker Sotil, she deduces that the silversmith could have been either Francisco García de Echevarría, or his brother, Juan Antonio García de Echevarría.
The explanation Dr. Esteras gives with regard to the information that this platter tells us about the origin of this type of pieces is very interesting. She notes: "the lineage of the conception of the body worked with helicoidal tubes reaching out onto the edge can be identified with examples from the late 17th and early 18th century which originated in the Viceroyalty of New Spain (Mexico). The appearance of this platter from Vitoria opens up the possibility of rethinking the attribution of other platters (known or unknown) which follow the same model and which are not marked or documented. They are thought to be Mexican but they could in fact have been made in workshops in peninsular Spain."
Finally, we must underline the importance of this platter, because, as Dr. Esteras points out, civil silverware made by the smiths of Vitoria are practically unknown, although religious pieces are known. This means that this platter which is on view in the auction is important for the unusualness of its provenance and also because it is a model which had not been registered until now as being from the peninsula, as well as for its size and generous weight and the great quality of its execution, with skillful technique. It is also in an excellent state of preservation.
Accompanied by Dr. Cristina Esteras Martín’s study.
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Cast and chased silver platter for a pitcher with relief and picado de lustre (a patterned effect achieved using small chisels or burins). Francisco or Juan Antonio García de Echevarría. Vitoria. 1769-1779. Marked ECHA/VA/RRIA and SO/TI[L].
Diameter: 44,5 cm.
Weight: 1.820 gr.
As Doctor Esteras notes in her study, this is a: "Circular plate with a wide and flat edge which is decorated with thirty-two scallop shells resting on a bed of leaves in "picado de lustre" and arranged in a radial direction. The bottom centre is crossed by another thirty-two helicoidal ribs which reach to and begin to invade the edge, which is placed on them. The raised bottom centre is an imitation of a large flower which is made to surround the exterior with a double trim of festooned leaves, followed by a step moulded with beads of dead leaves and the branch, deep-set and decorated with a large trefoil. Relief and chisel chasing predominate in the ornamentation." With regard to the origins of this platter, Dr. Esteras notes that it is lucky that the piece is stamped with a quite well imprinted regulatory mark, which allows us to locate, attribute and date it with certain precision: "These three marks lead us to the city of Vitoria, as the mark of the castle with two crows over the battlements at each end and two back-to-back lions holding up the architecture are unmistakable." She also notes that the mark SOTIL (of which the final L is missing because of a flaw in the stamp) is the personal mark of the silversmith Juan Antonio Sotil who was named guardian of the craft of the city on the 10th July 1769, a position he continued to fill until 10th December 1779. It was he who hallmarked the platter.
With regard to the silversmith who made the platter, the mark CH/VA/RRIA alludes to the surname Echevarría, but as Dr. Esteras notes, there are several silversmiths active during this period with this surname who could have made the platter. Linked with the chronology of the hallmarker Sotil, she deduces that the silversmith could have been either Francisco García de Echevarría, or his brother, Juan Antonio García de Echevarría.
The explanation Dr. Esteras gives with regard to the information that this platter tells us about the origin of this type of pieces is very interesting. She notes: "the lineage of the conception of the body worked with helicoidal tubes reaching out onto the edge can be identified with examples from the late 17th and early 18th century which originated in the Viceroyalty of New Spain (Mexico). The appearance of this platter from Vitoria opens up the possibility of rethinking the attribution of other platters (known or unknown) which follow the same model and which are not marked or documented. They are thought to be Mexican but they could in fact have been made in workshops in peninsular Spain."
Finally, we must underline the importance of this platter, because, as Dr. Esteras points out, civil silverware made by the smiths of Vitoria are practically unknown, although religious pieces are known. This means that this platter which is on view in the auction is important for the unusualness of its provenance and also because it is a model which had not been registered until now as being from the peninsula, as well as for its size and generous weight and the great quality of its execution, with skillful technique. It is also in an excellent state of preservation.
Accompanied by Dr. Cristina Esteras Martín’s study.
Diameter: 44,5 cm.
Weight: 1.820 gr.
As Doctor Esteras notes in her study, this is a: "Circular plate with a wide and flat edge which is decorated with thirty-two scallop shells resting on a bed of leaves in "picado de lustre" and arranged in a radial direction. The bottom centre is crossed by another thirty-two helicoidal ribs which reach to and begin to invade the edge, which is placed on them. The raised bottom centre is an imitation of a large flower which is made to surround the exterior with a double trim of festooned leaves, followed by a step moulded with beads of dead leaves and the branch, deep-set and decorated with a large trefoil. Relief and chisel chasing predominate in the ornamentation." With regard to the origins of this platter, Dr. Esteras notes that it is lucky that the piece is stamped with a quite well imprinted regulatory mark, which allows us to locate, attribute and date it with certain precision: "These three marks lead us to the city of Vitoria, as the mark of the castle with two crows over the battlements at each end and two back-to-back lions holding up the architecture are unmistakable." She also notes that the mark SOTIL (of which the final L is missing because of a flaw in the stamp) is the personal mark of the silversmith Juan Antonio Sotil who was named guardian of the craft of the city on the 10th July 1769, a position he continued to fill until 10th December 1779. It was he who hallmarked the platter.
With regard to the silversmith who made the platter, the mark CH/VA/RRIA alludes to the surname Echevarría, but as Dr. Esteras notes, there are several silversmiths active during this period with this surname who could have made the platter. Linked with the chronology of the hallmarker Sotil, she deduces that the silversmith could have been either Francisco García de Echevarría, or his brother, Juan Antonio García de Echevarría.
The explanation Dr. Esteras gives with regard to the information that this platter tells us about the origin of this type of pieces is very interesting. She notes: "the lineage of the conception of the body worked with helicoidal tubes reaching out onto the edge can be identified with examples from the late 17th and early 18th century which originated in the Viceroyalty of New Spain (Mexico). The appearance of this platter from Vitoria opens up the possibility of rethinking the attribution of other platters (known or unknown) which follow the same model and which are not marked or documented. They are thought to be Mexican but they could in fact have been made in workshops in peninsular Spain."
Finally, we must underline the importance of this platter, because, as Dr. Esteras points out, civil silverware made by the smiths of Vitoria are practically unknown, although religious pieces are known. This means that this platter which is on view in the auction is important for the unusualness of its provenance and also because it is a model which had not been registered until now as being from the peninsula, as well as for its size and generous weight and the great quality of its execution, with skillful technique. It is also in an excellent state of preservation.
Accompanied by Dr. Cristina Esteras Martín’s study.
Images. The Divine and the Human
Sale Date(s)
Lots: 211
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08006
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General delivery information available from the auctioneer
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.
XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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![Francisco or Juan Antonio García de Echevarría. Vitoria. 1769-1779. Marked ECHA/VA/RRIA and SO/TI[L]](https://portal-images.azureedge.net/auctions-2022/la-sui10045/images/c8746b8c-a189-4a43-a556-ae7f0130cf9f.jpg)
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![Francisco or Juan Antonio García de Echevarría. Vitoria. 1769-1779. Marked ECHA/VA/RRIA and SO/TI[L] - Image 3 of 5](https://portal-images.azureedge.net/auctions-2022/la-sui10045/images/96db0b7e-bb89-497c-8b08-ae7f0130ccb0.jpg)
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