Workshop of Luigi Valadier (1726-1785) Italian, Rome, 18th century

the glazed relic compartments with paper labels respectively inscribed: D.Iig.G:D.N.J.C, Hieron. E...., and S. Ambrosy. E....

Private collection, Mexico, until 2003;
the present owner

Overall the condition of the reliquary is good with dirt and wear to the surface consistent with age. There is some tarnishing to the silver, particularly where the surface is burnished, and the gilding on the bronze has rubbed in areas. There are a few small lacunae and fissures to the silver, mostly in the crevices. There are some losses to the silver at the top, below the crucifix, mostly on the right side. The Saint holding a crucifix has slipped slightly to the right because screws have been lost. Viewed from behind, there are lacunae between where the back-plate meets the silver. In some areas the back-plate and silver have been bent slightly, such as to the back-plate at the top, below the crucifix. This may be the result of the object having been deconstructed and reassembled in the past. There are some minor casting flaws to the bronze, such as lacunae in the foliate elements and in the Saints' drapes. There may be some small losses to the reeds by the Saints. The left Saint is a little loose. There are minor spots of greening and there is oxidation to the metal at the back. Some screws and nuts at the back have been replaced, and some lost. There are remnants of silver polish.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This remarkable gilt bronze and silver reliquary derives from a drawing produced by the Valadier workshop. The reliquary follows the drawing almost exactly, with its two female saints reclining against palms at either side of the stem, whilst supporting their respective attributes: an anchor and a cross. The scrolling feet, decorative garlands, putti and cherubim, are all near-identical to the drawing. As one would expect, Valadier has adapted the design to his client's needs and so has added three relic compartments, interspersed by palms, in place of the single one.

The present reliquary compares closely with other works by Luigi Valadier and his workshop. On his gold tabernacle in the Seville Cathedral Treasury, dating to circa 1771, there is a similar base, articulated with a wreath-like moulding (Valadier, op. cit., fig. a. 4). The frolicking putti also compare well. Compositionally, the overall design is similar to the drawing of a monstrance published by González-Palacios (op. cit., no. 79). The textured surfaces of the figures' drapes and the silver, which is alternately frosted and burnished, are typical of Valadier workmanship. It is unknown how this Roman object came to arrive in Mexico. However, there is a tantalising insight into links between Central America and the Valadier workshop in the Diario Ordinario of Chracas. On 10 January 1767 the newspaper published an article describing a large bejewelled monstrance by Luigi Valadier, which was destined for one of the main churches in Mexico (Chracas, op. cit., no. 7728, pp. 5-7).

RELATED LITERATURE
Chracas, Diario Ordinario, Rome, 10 January 1767, no. 7728, pp. 5-7; Valadier. Three Generations of Roman Goldsmiths, exh. cat. Artemis Group, London, 1991, pp. 69, 158-159, no. 39, fig. a. 4; A. González-Palacios, L'oro di Valadier. Un genio nella Roma del Settecento, exh. cat. Villa Medici, Rome, 1997, p. 198, no. 79