Spanning multiple centuries, continents, and artistic genres, Peyton Wright Gallery’s 21st annual Art of Devotion is one of the most visually stunning and comprehensive exhibitions of colonial-era Mexican, Central and South American, European, and New Mexican art in the country. Spanish rule was introduced to the Americas in the late 15th century, and by 1600, the widespread influence of a European aesthetic—and almost exclusively religious subject matter—had come to the New World. Art created in the viceroyalties of New Spain covered a vast area: Mexico and Central America, as well as Peru, a territory which included what is now Ecuador, Colombia, Chile, Argentina, and Bolivia; the Gallery’s Spanish Colonial collection accordingly represents dynamic shifts in aesthetic and thematic subjects, and features paintings, sculpture, silver, and furnishings, as well as domestic items and religious articles. As a key means of introducing Catholic doctrine to colonies under Spanish rule, devotional imagery was used to evangelize indigenous people and to promulgate the Christian faith. As such, many of these works depicted deeply emotional subjects and situations, meant to evoke visceral responses on behalf of their viewers. Rich in symbolic significance, they often employed elaborate ornamentation, which served to consecrate and exalt the sacred subjects they represented. By learning to reproduce European stylistic elements and iconography, indigenous people created art which is unique in history; Spanish Colonial artworks, however, were not merely regional copies of European originals, but incorporated distinctive local practices using a unique blend of materials, methods, and iconography.
These works are consequently charged with remarkable intensity, and eloquently speak of complex shifts in Latin American culture and heritage; a coalescence of a millennium of transiting cultural idioms, beliefs, and expressions. Similarly, in 17th century New Mexico, Catholic devotional images were brought to native people by the Spanish. In the following centuries, the New Mexican santeros produced distinctive images of Christ, the Virgin, and the saints. Although some of these retablos, bultos, and cristos were made for churches, the majority were kept in homes where individuals incorporated them into their daily lives, forming relationships and effectively transforming them into more than inanimate pieces of art. Prevailing themes in the European works include scenes of devotion, historical events, ancient mythology, landscapes, still lifes, and portraits: a diverse body of works which incorporate an intriguing mix of politics and interwoven propaganda using allegories and symbolism that continue to occupy our collective consciousness today. Art of Devotion exhibits not only a significant ecclesiastical tradition and its manifestations across Europe and North and South America, but also represents devotion as a seamless element of daily life, and offers a rare opportunity to experience the largest exhibition of the Historic Art of the Americas in a commercial gallery setting.
Spanish Colonial Silver As with other Spanish Colonial art forms and objects, viceregal silver demonstrates a wide scope of original qualities and regional design elements. Of course, the tradition of intricate metal work can be traced to pre-Columbian times in a variety of mineral-rich areas in Latin America. The abundance of this natural resource was not lost on the Spanish, who quickly set up mines and workshops; here, the indigenous silver traditions blended with those of Spanish; given the cultural plurality of the cultures there, the nature of Spanish Colonial silver is in a class by itself. Unique attributes suited the specific needs of both settlers and indigenous people. The extraordinary variation visible in Spanish Colonial silver items reflects the breadth of the settled area, which of course spread across multiple continents and territories and was far from homogenous. The abundance of religious articles made of silver is no mistake. The Catholic Church was intent on promulgating Christianity, and on highlighting the majesty and grandeur of its power. Church interiors, therefore, were replete with elaborate signifiers of religious faith, such as candlesticks, incensarios, monstrances, and altar pieces. Silver items of opulent detail were also present in viceregal Latin America: platters, shaving dishes, and braziers, and any number of other objects were crafted in varying degrees of opulence, and were stalwart aspects of Upper Class domestic life.
Peru Pava con Hornillo Silver, cast, chased and repousse 1.9 kilos 19th Century 10 x 10 x 4.25 inches Provenance:
Private Collection, Santa Fe, NM
Exhibition History:
The Art of Devotion, Peyton Wright Gallery, Santa Fe, NM, December 7, 2012 through March 16, 2013
Description:
This vessel served the same purpose as an ewer, but instead of holding cold water it was intended to keep the water hot. Its ingenious design was devised in response to the social custom of brewing and drinking very hot yerba mate infusions. Of the animal forms that water heaters took, the lion was undoubtedly the most popular. These lions always appear crowned, stand on all fours, and have a handle.
Bolivia Shaving Dish Silver 48 oz ca. 1800 14 x 17.25 x 1.75 inches Provenance:
Private Collector, Baltimore, MD
Description:
This elaborate kidney-shaped vessel with concave indentation at the center of the rim was intended as a gentleman’s personal toiletry article, specifically for use in shaving or trimming of the beard. Similarly shaped basins exist that served other functions, such as for Church donations. Tray bears the mark “J. Guzman”.
Bolivia Candlesticks Silver 7.2 kilos ca. 1775 20.70 x 7.6 x 7.6 inches Provenance:
Private Collection, Santa Fe, NM
Description:
This pair of candlesticks from Bolivia exemplifies the clean lines and elegant details characteristic of 18th century Spanish Colonial silver-making practices. The candlesticks feature a circular, slightly domed base and baluster stems that are formed in a vase-and-columnar manner and ringed with thin, circular discs. The top portion of the candlesticks feature a larger, graduated disc support by an inverse stem. The candlesticks are solid silver and weigh 7.2 kilograms (7115 grams) or 232 Troy ounces.
Mexico The Archangel Saint Michael Silver ca. 1880 26 x 16 x 9.25 inches Provenance:
ex. Mark Walberg Collection
Description:
This wonderfully detailed silver figure of the Archangel Michael stands over 2 feet tall. St. Michael is often called the avenging angel; as such, he was considered the Captain of the Holy Angels, the defender of the church, and the Prince of the Celestial Court. In characteristic form, the figure triumphantly grasps a waving flag in one hand that bears the inscription “Quien Como Dios.� Large, outspread wings are fashioned in solid silver.
Bolivia Wine Pitcher Silver 1.5 kilos ca. 1750 14 x 13 x 7 inches Description:
This cast and hammered silver wine pitcher features an elegantly curved C-shaped handle and an embellished camelid spout.
Mexico Platter Silver 2.2 kilos ca. 1786 19.5 x 13.65 x 1.25 inches Description:
This elegant silver tray has a highly reflective surface and a shallow basin. Its central bowl is bordered by a rim that features a gently scalloped pattern. Verso maker’s marks are initialed “MDN”.
Bolivia Pair of Mirrors Silver and glass ca. 1775 47.50 x 24.75 inches (each) Description:
Each of these Colonial-era mirrors is framed in lustrous silver, embellished with elegant floral patterning.
Mexico Covered Compote Silver .996 kilos 7.25 x 7.25 x 8.25 inches Description:
The body of this covered silver dish is low and circular, and each half of it is covered with a raised scallop design. The piece features floral detailing, with leaves and undulating stems. The lid of the compote features a stem with an upwards-facing acorn and oak leaf. The item bears the mark “A. Ochoa Emijos�.
Portugal Hexagonal Tray Silver ca. 1700 16 x 16 x 3.5 inches Provenance:
Private Collection, Dr. Jose Neistein, Washington DC Private Collection, Brazil, 1969
Description:
This elaborate tray features a border of hammered, pierced, and chiseled silver in a scalloped hexagonal shape. The interior of the tray is embellished with nesting floral patterns.
Historic European Painting Classic European painting typically employs deep, rich color and stark contrast. Prevailing themes of devotion, historic events, mythology, landscapes, still lifes and portraits dominate. The artists infused their compositions with layers of meaning, incorporating a mix of politics and interwoven propaganda through the use of symbolism and allegory. The Christian Church was vastly influential on modalities and stylistic elements; increasingly after the 1800s, however, painters embraced other themes, including landscapes, portraits, and myth.
Mexico La Divina Pastora Oil on canvas, ca. 1800 25 1/2 x 17 3/4 inches 34 1/2 x 27 3/4 inches (framed) Provenance:
Carlos Noyola, McAllen, Texas Private Collection, California
Description:
La Divina Pastora (the Divine Shepherdess) is one of the most important religious icons of Venezuela. The popular legend of La Divina Pastora in Venezuela dates from 1736, when the parish priest of the town of Santa Rosa commissioned a sculptor to make a statue of the Immaculate Conception. Unexpectedly, the figure that was delivered was of La Divina Pastora. In 1855, La Divina Pastora was recognized as the patron saint of the Venezuelan state of Lara.
Mexico El Descanso Oil on copper ca. 1750 12 1/8 x 9 1/8 inches Provenance: Private Collection, Wilmington, DE Description:
This luminous oil-on-copper painting depicts The Holy Family returning from exile in Egypt. The title, el descanso, refers to the repose the family was able to enjoy upon returning to Nazareth. Mary and the Christ Child share a tender embrace as Joseph watches from behind.
Guatemala Cristo Negro de Esquipulas (Black Christ of Esquipulas) Oil on canvas, ca. 1750 72 1/2 x 45 inches 80 x 53 inches (framed) Description:
Before the coming of the Conquistadors, the town of Esquipulas, located near today’s borders with El Salvador and Honduras, was inhabited by about 300 people, mostly Mayan Indians. The missionaries who arrived in town were very aggressive in converting the locals to Catholicism. Around the start of the 16th century, the Indians began to ask for a crucifix to display in their town for devotion and veneration. At that time an artist named Quirio Catahyo was residing in Antigua and approached the Church about the Indians’ request. A contract was signed and a crucifix was to be completed by the memorial of Saint Francis in 1594. Over the years, devotion to the crucifix grew by word of mouth, drawing more and more pilgrims each year. Inside the hut, many candles and much incense was burned before the image, including herb incense used by Indians that made a heavy smoke with resin. Naturally, due to the small, relatively enclosed quarters of the crucifix’s “chosita”, smoke and resin built up and caused the image to turn to a darkened color, hence the name El Cristo Negro. Another explanation is that the artist made the image the color of the skin of the Indians. The Cristo Negro de Esquipulas depicts the Black Christ with an elaborate embroidered loincloth on a grape vine. The carved cross with the Virgen de la Dolorosa is to his left, and the Apostle John on his right; a charming representation of the Christ Child can be seen at the base of the crucifix.
Bolivia The Enlightenment of Our Lady of Carmel Oil on canvas ca. 1700 37 x 30 inches 43 3/4 x 33 1/2 inches (framed) Provenance: Private Collection, Sanford Family Collection, Dallas, Texas, 1996 Private Collection, Ex. Hernan Weissbluth Collection, Santiago, Chile, 1994 Description:
Our Lady of Mount Carmel appeared to St. Simon Stock on July 16, 1251. During the vision, the Blessed Virgin revealed to Saint Simon the Scapular of Our Lady of Mount Carmel, popularly known as the “Brown Scapular.� The feast in her honor celebrates the devotion of the Blessed Virgin Mary. According to tradition, those who wear the scapular faithfully and remain devoted to the Blessed Virgin until death will be granted the grace of final perseverance and be delivered from Purgatory.
Cuzco, Peru The Return of the Holy Family to Nazareth Oil on canvas ca. 1700 75 3/8 x 53 1/8 inches; 76 x 53 3/4 inches framed Provenance:
St. John Neumann Catholic Church, Austin, TX
Description:
This painting depicts The Holy Family’s return to Nazareth after their flight into Egypt: a biblical event described in the Gospel of Matthew in which Joseph fled to Egypt with his wife Mary and infant son Jesus after learning of King Herod’s intent to kill the infants of that area. From the 15th century onwards, The Holy Family was often shown in natural settings, accompanied by angels. This painting retains elements associated with the Cuzco School, including richly colored, draped clothing in Spanish Colonial style, and a warm, earthy color palette.
Gregorio Gamarra (1570-1642) Bolivia Virgen de Belen Oil on Canvas ca. 1625 26 x 20 inches 31 1/2 x 25 1/2 inches (framed) Provenance: Peyton Wright Gallery, Santa Fe, New Mexico, 2013 Alex Cooper Auction, Baltimore, Maryland Sindler Collection, Maryland Purchased from Peruvian missionaries Description: Gregorio Gamarra was a Bolivian who is first documented as a painter from the Tertiary Franciscan Order in Potosi (1601). Acknowledged to be the principal follower of Bernardo Bitti (1548-1610), a Jesuit who traveled from Seville to Lima in 1576, he was inspired by 16th century Flemish engravings. Among his commissions was a cycle of eight paintings, the “Life of the Virgen and the Infancy of Christ”. The Virgen de Belen (Virgin of Bethlehem) may reflect the work of a Flemish “Romanist” influence as Gregorio painted the generously rounded forms of the body of the Child in a more suggestive manner of the infants in Italian Renaissance paintings.
Cuzco School, Peru San Sebastian Oil on canvas ca. 1625 70 1/2 x 42 inches Provenance:
Private Collection, ex. Andres Carbajal Collection, Cali, Colombia, 1980
Description:
According to his legend, Sebastian was born at Narbonne, Gaul. He became a soldier in the Roman army around 283, and encouraged Marcellian and Marcus, under sentence of death, to remain firm in their faith. Sebastian made numerous converts. When it was discovered during Maximian’s persecution of the Christians that Sebastian was indeed a Christian, he was ordered executed. He was shot with arrows and left for dead but when the widow of St. Castulus went to recover his body, she found he was still alive and nursed him back to health. Soon after, Sebastian intercepted the Emperor, denounced him for his cruelty to Christians, and was beaten to death on the Emperor’s orders.
Peru Ave Maria Gratia Plena Oil on canvas ca. 1775 14.75 x 12 inches Description:
This elaborately gilded painting of the Blessed Virgin is bordered with “Ave Maria Gratia Plena” - the beginning phrase of The Hail Mary prayer. Also commonly called the Ave Maria (Latin) or Angelic Salutation, it’s a traditional Christian prayer asking for the intercession of the Virgin Mary, the mother of Jesus. In Roman Catholicism, the prayer forms the basis of the Rosary and the Angelus prayers. Based on the greeting of the Angel Gabriel to the Virgin Mary in the Gospel of Luke, the prayer takes different forms in various traditions.
Cuzco, Peru Virgen de Pomata y Rosario Oil on canvas, ca. 1850 83 x 68 inches Provenance:
Private Collection, Cali, Colombia, 1979
Description:
The Virgin of the Rosary is crowned with a jeweled diadem sprouting plumes. The cape she wears over her gown is richly embroidered and closed with festoons of pearls held in place by scarlet bows and roses. Many versions of this subject were created by Andean painters, especially during the eighteenth century; this rare version features a central portrait of the patroness that commissioned the work at bottom.
Historic Furniture Covering a range of countries and styles, historic furniture exists within the context of the time and circumstances within which it was created. Typically crafted with elegance and artistry, furniture of the Old and New Worlds was initially made for private residences of the upper classes, and for liturgical settings. Early on, Gothic tastes were favored with the advent of Christianity; naturally, furniture was built for churches and embellished with cross motifs, which in many cases dictated furniture design and structure. Aside from the fact that importing furniture from Europe to Spanish Colonial territories was costly and time-consuming, the abundance of timber in much of Latin America rendered such endeavors obsolete. Later, the influence of Asian design on European styles was in turn passed on to New World craftsmen. These motifs, along with evolving European styles, converged in a uniquely Spanish Colonial furniture aesthetic. Desks and case-pieces frequently incorporated gorgeous inlay detailing, making use of tortoise shell, mother-of-pearl, horn, bone, ivory, and precious metals.
Spain Baroque Cabinet Walnut with Iron Hinges ca. 1700 70 x 35 x 26 1/2 inches Provenance: Bonham Auction House, San Francisco, CA Description: Rectangular case with five doors carved with stylized flower heads, with concave and convex radiating petals, the lower doors carved as radiating palmettes.
Guatemala Console Table Mesquite Wood and Iron ca. 1800 36 3/4 w x 32 d x 36 3/4 h inches Provenance:
Private Collection, Santa Fe, New Mexico
Description:
This late-colonial period console table features shell carvings, original pulls, and much of its original finish. Its two-board top was crafted with forged clavos; the piece has a fully finished back, allowing it to be positioned in the round.
Spain Papelera Walnut, Iron, Ivory, Bone & Gesso ca. 1650 35 3/4 w; 12 d; 21 1/4 h, inches Provenance: Peyton Wright Gallery, Santa Fe, New Mexico 2007 Private Collection California Description: A Mudejar style cased escritorio or papelera from Madrid, Spain offered in original finish replete with period iron hardware. This work is a visual testament to the Baroque period in Spain, with abundant and lavish use of heavy 22 karat gold and ivory embellishments. This papelera contains seven drawers and one center cabinet that reveals three interior drawers, all with original hardware and locks. The lavishly carved piece features drawer panels with central geometric clusters, which rest under salomonica columns; some of these design details are built up with gesso and carved. The arched central door panel opens onto three hidden drawers.
Italy Sicilian Processional Market Cart Wood, iron, and polychrome ca. 1900 81 w x 44 d x 47 h inches Description:
This late 19th/early 20th Century Sicilian polychrome-painted processional cart features head finials and interior and exterior detail. The top portions of the piece depict historical scenes of Christopher Columbus’s travels to the New World. Each wheel is decoratively painted and elaborately carved with angel figures on each spoke. Inscribed on both sides of the cart is Daneu, Palermo, Italy No. 462.
Northern Brazil Chippendale Sillon with Concha Crest Jacaranda Wood and Cloth ca. 1775 94 w; 31 d; 47 h, inches (16� seat height) Provenance: Peyton Wright Gallery, Santa Fe, New Mexico 2007 Description: This extraordinary, Luso-Brazilian settee, or banco, is ornately carved in Jacaranda wood. The five-seat piece was created ca. 1775 and has a Northern Argentinian provenance.
Mexico Fresquera Cabinet White pine ca. 1800 48.75 w; 20.5 d; 77.5 h inches Provenance: Peyton Wright Gallery, Santa Fe, New Mexico 2012 Description: This tall 18th Century Mexican fresquera of northern indigenous white pine features cornice crown molding, ventilated lattice top doors and two lower doors attached with iron strap hinges. The piece has exquisitely carved recessed rosette panels on the doors and the sides of the cupboard and simplified floral carvings around the drawer panel. This piece has original iron hardware and interior shelving.
Euskal Herria (Basque Country) Northern Spain Chest Wood and Iron ca. 1800 33 h; 64 w; 24 d, inches Provenance: Santa Fe, NM private collection Description: Eighteenth century style chest with dovetailing and a lock that is hammered and pierced in a simple shaped. The chest’s center has three large sun burst rosette with the two larger rosettes containing carved floral patterns.
Bolivia Silver Repoussé Chairs Repousséd silver; wood and velvet ca. 1780 21.5 w x 20.5 d x 47.5 h inches Provenance:
Collection of Gerald & Barbara Levin, New York City, New York Peyton Wright Gallery, Santa Fe, New Mexico Collection of Gilberto Gutierrez, Guadalajara, Mexico
Description:
This pair of tall Chippendale-style armchairs features high, crested backs, undulating arms with scrolled hand rests, and seats embroidered in red velvet. Elaborate silver repoussé covers the front of each chair and on the back is the double-headed Hapsburg Eagle, which symbolizes the marriage between the Spanish and the Austrian kingdoms.
Peru Console Table Cedar and iron ca. 1600 53 w; 31.5 d; 32.5 h, inches Provenance: Private Collection Miami, Florida Description: A stunning 16th Century Peruvian cedar console table with three piece plank top over a carved apron with one large center drawer. The piece has uniquely carved front legs that are lion heads ending with lion claw front feet.
Cuzco, Peru Sacristo Cabinet Wood, Gesso, Repousse Silver, Gold Leaf and Pigment ca. 1700 42.5 w; 23 d; 90 h, inches Provenance: Private Collection, Miami Florida Description: This extravagantly detailed, pastiche cabinet is composed of a variety of elements. The front door panels are covered with repousse silver in raised shapes and flourished designs and surrounded by a gold-guilded border. The top of the cabinet features a large heart, pierced with swords, and flanked on both sides by instrument-bearing mermaids. Crafted in Peru, the piece has interior hand-painted shelving and ample storage.
Spanish Colonial Paintings Upon entry to the New World, Spanish conquerors looked for ways to establish dominance from a military and religious perspective; European tradition dictated the communication of Spanish values—particularly the Catholic religion—by visual means. Artists came from Europe to paint religious images and to teach indigenous people artistic techniques and styles. Throughout the various territories under Spanish Colonial rule, painters demonstrated an influence of Italianate traditions, but also evidenced an incorporation of native expression and style. By the 17th century, reproductions of religious paintings by such artists as Peter Paul Rubens and Caravaggio had made their way across the Atlantic. These emotionally charged scenes of devotion acted as profoundly influential means of religious and artistic indoctrination. As a genre, Spanish Colonial painting can be something of a paradox, inclusive of disparate and not-always-clear influences.
Spain St. John of Patmos Oil on copper ca. 1630 9 x 7 inches 14 x 12 inches (framed) Description:
According to Christian history, the Apostle John authored the Book of Revelation when he was about 92 years old. During this time, he was imprisoned on the remote desert penal colony of Patmos, an island in the Aegean Sea. John, the beloved apostle of Jesus, was being held prisoner for spreading the Christian gospel. According to Greek Orthodox Tradition, John experienced a vision one Sunday after saying Mass and preaching the Gospel. Saint John, to escape the heat of the day, remained in the cave where he said Mass and was visited by Jesus, who dictated The Book of Revelation to his scribe.
Attributed to Andrés Pérez (1660 - 1727) Spain The Child Virgin Spinning Oil on canvas ca. 1750 25 x 19 1/2 inches 33 x 27 inches (framed) Description:
The depiction of a young Mary spinning wool is most likely derived from the story of the three-year-old Virgin’s presentation at the temple by her parents a story that appears in one of the apocryphal gospels. The image of the young Virgin at her tasks in the temple is rare in European art outside Spain.
Circle of Francisco de Zurburán Seville, Spain
Archangel Raziel Oil on canvas ca. 1650 71 3/4 x 41 3/4 inches 80 3/4 x 50 3/4 inches (framed) Description:
According to Christian legend, the Archangel Raziel is the author of a mystical book “wherein all celestial and earthly knowledge is set down.” This book is reputed to contain the 1,500 keys to the mysteries of the universe, but was written in a language so arcane and impossible to decipher that not even the greatest angels in heaven are able to decode it. For this and other reasons, Raziel is considered “The Angel of Mysteries,” the possessor of a staggering amount of information on all matters secret or hidden.
Filippo Gagliardi (active Rome 1637; d. 1659) Capriccio with the Colosseum, the Arch of Constantine, and the Tower of Maecenas
Oil on Canvas ca. 1650 58 x 76 inches 65.50 x 84 inches framed Provenance:
Chaucer Gallery, London, England, 1975
Publications:
Viviano and Niccolo Codazzi and the Baroque Architectural Family; David Ryley Marshall, published by Jandi Sapi Editori, Milan, 1993; pages 518-522, fig. 21
Description:
The Roman Colosseum, the Arch of Constantine, and the Tower of Maecenas are conceived in rich detail in this painting by Filippo Gagliardi. A Baroque-period artist, Gagliardi was active in Rome, the city of his birth. He was fascinated by architecture and often drew plans for new buildings as well as restorations. This meticulously detailed painting features areas of elaborate figuration - such as the small dog in the lower left, and the lively scene under the distant arches. Gagliardi’s facility with design and draftsmanship is reified by the fact that he wrote a treatise on the subject of architectural perspective.
Circle of Vicente Juan Masip (1475-1545) Valencia, Spain Immaculate Virgin Oil on panel ca. 1550 34 x 31 1/2 inches Description:
Attributed to the circle of Vicente Juan Masip, this rendering of the Immaculate Virgin envisions her surrounded by various religious accoutrements. Encircled around her head is a ring of bright stars, and her hands are clasped together in a posture of religious piety.
Gaspare Landi (1756-1830) Incontro di Ettore con Andromaca Autograph Replica Oil on Canvas 1793 56 x 80 inches Provenance:
The Joseph Sorger Collection, Philadelphia, PA
Publications:
Albuquerque Journal; Jan. 6, 2013, “Grandeur and Simplicity”, by Kathaleen Roberts; page B7
Description:
Praised for his use of color, his soft, perfectly measured brushwork, and his sense of composition, Gaspare Landi (1756-1830) acquired immediate fame and received numerous commissions for mythological and religious paintings and portraits. This painting depicts the meeting of Hector and Andromaca. Hector was a nobleman who was heading for battle during the Trojan War. His wife Andromache brought their infant son Astyanax , held tenderly by his wet nurse in this depiction, with her in a bid to prevent Hector from entering battle. This painting utilizes soft lighting and tender, acutely human details; Andromache rests her head on her husband’s shoulder with a loving expression in her eyes. Hector’s emotion at the sight of his son is made clear by his posture his left hand clasps his helmeted forehead and his right hand is drawn back in bewilderment.
Studio of Peter Paul Rubens (1577-1640) Italy Christ Carrying the Cross Oil on canvas ca. 1650 75 x 100 inches Description:
Sir Peter Paul Rubens was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, color, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In addition to running a large studio in Antwerp, Rubens was a classically educated humanist scholar and diplomat. This large painting depicts Christ carrying the cross on his way to the crucifixion. It employs dramatic areas of light and shadow to inject heightened drama into this intensely emotional scene.
Italy Pair of Sibyl Portraits Oil on canvas ca. 1720 25 x 18 inches 26 x 19 inches (framed) Description:
The word Sibyl comes from the Greek word Sibylla, meaning prophetess. The earliest oracular seers known as the sibyls of antiquity, “who admittedly are known only through legend” prophesied at certain holy sites, under the divine influence of a deity, originally—at Delphi and Pessinos—one of the chthonic deities. Later in antiquity, sibyls wandered from place to place. This pair of portraits imagines Sibyl with plumed headdresses and soft, gentle visages.
Francesco Gessi (1588-1649) Italy Penitent Magdalene Oil on canvas ca. 1635-1640 38 1/4 x 28 5/32 inches 47 x 36 7/8 inches (framed) Description: This portrait of Mary Magdalene was painted by the Italian artist Francesco Gessi. Gessi was an Italian painter of the Baroque period, active mainly in Bologna. Born to a noble family, he studied under Guido Reni. From there, he obtained commissions to fresco in Ravenna, Mantua, and also the Capella del Tesoro in the Naples Cathedral. He ultimately desisted from attempting to complete the latter in the dangerously competitive art world of Naples. Upon returning to Bologna, Gessi established a prolific studio.
Flanders Madonna and Child Oil on copper ca. 1650 8 1/2 x 6 3/4 inches 14 1/2 x 12 1/4 inches (framed) Description:
This charming portrait of Mary and Jesus is encircled with a ring of multi-colored flowers. Flemish painting flourished in the 17th century, when this work was made. Flanders in fact delivered the leading painters in Northern Europe and attracted promising painters from neighboring countries.
Historic Sculpture With nominal exceptions, Historic European and Spanish Colonial-era sculpture was thematically religious. Because of its three-dimensional nature, sculptural works had a unique ability to serve as particularly persuasive, visceral means of establishing and perpetuating religious dogma. In the New World, sculptural subjects were polychromed and gilded in a visually stunning technique called estofado, in which gold leaf application on wood was followed by paint, then scratched away to reveal gold below. Life-size or large scale depictions would frequently feature real hair and glass eyes, adding humanistic qualities. Although the subject matter and artistic style of these religious sculptures originated in Europe, the varied and evolving styles that developed in Spanish Colonial Latin America have their own distinctive qualities. Such figures, so poignant in their humanity and beautiful details, continue to have the power to deeply move audiences of every background. Often employing astonishing realism—and sometimes jarringly graphic in their frank depiction of human suffering and emotion—sculpture of the Old and New World was intended to inspire and reify the sentiments of the faithful.
Archangel St. Michael
Bolivia, ca. 1725 Wood, gesso, goldleaf, polychrome, and silver 5 feet 3 inches x 5 feet x 20 inches Desription: This wonderfully detailed sculpture of the Archangel Michael stands just over 5 feet tall. The Archangel Michael (or simply St. Michael) is often called the avenging angel; as such, he was considered the Captain of the Holy Angels, the defender of the church, intercessor for mankind, and the Prince of the Celestial Court, or receiver of elect souls into heaven. He was considered a great protector and a benevolent, attentive listener. In characteristic form, the figure wields a sword in one hand and a shield in the other. Large, outspread wings are fashioned in gloriously detailed, repoussÊ silver. The angel’s face is rendered in exquisite detail, with expressive features and eyes lined with life-like eyelashes. Standing on a rectangular platform, much of the figure’s accoutrements feature traditional Spanish colonial designs fashioned from high-content silver; total silver weight for this item exceeds 15 kilos.
Corpus
Flanders, ca. 1450-1475 Olive wood 71 1/4 x 74 inches Exquisitely detailed wood corpus from Flanders (currently Liege, Belgium,) ca. the first half of the 16th century. Traces of polychrome finish remain on this late Renaissance masterpiece which retains all period elements.
Castile, Spain Four Apostles Wood, gesso, gold, and polychrome ca. 1575 31 1/2 x 18 3/4 x 32 7/8 inches Description:
This group of polychromed and gilt wood sculptures represents the authors of the New Testament, also known as The Four Evangelists: Matthew, Mark, Luke, and John. They date to the second half of the 16th century from an area known as Old Castile in north central Spain. The Four Evangelists are each shown with engaged postures and lively expressions. Each of them holds an open copy of the Gospel they have authored. The group would have come from a single altarpiece within a church, crafted by a team of specialists. The sculptor would have been responsible for carving the works and applying a white ground. The flesh tones of the head, hands and feet would be applied by a painter, and yet another artisan would be responsible for the embellishment of the drapery using a technique called estofado - gilded, painted and scribed decoration.
Ecuador Pair of Crèche Figures (Mary and Joseph) Wood, gesso, polychrome, and gold leaf ca. 1800 12 x 7.50 x 6 inches Description:
This pair of crèche figures depicts Mary and Joseph, kneeling in poses of adoration. Elaborately garbed in gilded robes, the characters’ rich detail extends from their expressive faces to their multi-colored garments.
Albania St. George and the Dragon Wood, gesso, gold, and polychrome ca. 1800 80 x 30 x 22 inches Description:
This sculpture depicts St. George as he triumphantly kills the dragon which he is legendarily associated with. Painted in rich color and featuring extravagant detail, this sculpture is rich with incredibly life-like qualities.
Austria Europa and the Bull Alabaster ca. 1820 12 x 10 3/4 x 4 inches Description:
In Greek mythology Europa was a Phoenician woman of high lineage, from whom the name of the continent Europe has ultimately been taken. The story of her abduction by Zeus in the form of a white bull was a Cretan story; as Kerényi points out “most of the love-stories concerning Zeus originated from more ancient tales describing his marriages with goddesses. This can especially be said of the story of Europa.” This delicate sculpture pictures Europa in a state of elegant semi-recline, and the bull upon which she rests gazes up at her face.
Potosi, Bolivia Arcabucero Wood, cloth, gesso, gold, polychrome, and metal ca. 19th century 55 x 36 x 24 inches Provenance: Private Collection, Miami, Florida
Description:
The depiction of an arms-bearing angel originated in Peru in the second half of the 17th century, and was especially prevelant in the Cuzco School. The popularity of these works among indigenous people of the era may be due in part to the ease with which they could identify the winged warriors with their own ancient gods and heroes.
Mexico Mary Magdelene Alabaster ca. 1700 12 1/2 x 5 inches Description:
This beautifully configured representation of Mary Magdalene is carved in alabaster. In her left hand, she holds the ointment jar with which she traditionally anointed the dead Christ, and her elaborate draperies bespeak her high rank in the Early Christian pantheon.
Mexico Pair of Cherubs Wood ca. 1700 18 1/2 x 9 1/2 x 7 inches Description:
Carved in wood, this pair of cherubs is rendered with exquisite detail and positioned in gentle stances that convey both childlike innocence and effortless grace.
Historic New Mexican Art Despite stylistic variations, New Mexican artisans typically confined themselves to creating traditional Christian iconography. Saints and holy personages were treated virtually as family members—a testament to the strength of the Catholic faith in New Mexico. Both bultos (carved wooden figures) and retablos (painted pine panels) were displayed in private homes and were included in religious processions. They were taken to people’s homes to use in asking for intercession or assistance, and even brought into fields during drought or to bless the harvest.
José Aragón(1796-1850) New Mexico San José con Niño Wood, gesso, and natural pigments, ca. 1825 20 1/2 x 11 1/8 inches Description:
This classic New Mexican pine retablo depicts San José wearing a crown with the baby Jesus held in his left arm. The flowers on San José’s staff resemble the hollyhock, grown in New Mexico since colonial times. The flowers were called Las Varas de San José. This retablos is topped with a painted lunette.
Pedro Antonio FresquĂs (1749-1831) New Mexico San Rafael Wood, polychrome, and natural pigment, ca 1815 15 3/4 x 7 x 8 inches Provenance:
Private Collection Albuquerque, New Mexico 2007
Description:
This classic image of San Rafael depicts him holding a fish and traveler’s staff. A small water gourd hangs from the top of his staff. San Rafael wears open-toe boots and is shown with rose-colored wings. He guides and protects travelers and especially pilgrims, he protects agaist demons, and he is a source of health for mind and body, especially for the eyes.
18-Century Novice Santero (1733-1771) New Mexico La Alma de la Virgen Pine, gesso, polychrome, and natural pigments ca. 1770 20 1/2 x 11 1/8 inches Description:
The eighteenth-century Novice’s retablos are heavy, hand-adzed ponderosa pine with carved shell or rosette-shaped tops. The Novice covered his wood panels with uneven, grainy gesso, then applied his paint thickly; brush strokes can be seen in the work’s surface. This charming retablo pictures the Blessed Virgin with a crown of roses. Two angels flank her, poised to place a resplendent crown on her head.
Pedro Antonio Fresquís (1749-1831) New Mexico San José con Niño Wood, gesso, and natural pigment, ca. 1800 33 1/2 x 11 x 6 1/2 inches Provenance: Peyton Wright Gallery, Santa Fe, New Mexico, 2007 Description: Pedro Antonio Fresquís was known as the Calligraphic Santero because of the fine detail evidenced in his work; he was also referred to as the Truchas Master because of large-scale altar pieces he made for the Nuestra Señora del Rosario chapel in the village of Truchas. Fresquís is also suspected of being the first native-born New Mexico santero, and the careful inscriptions written on a number of his works indicate that he was educated—a rarity among Southwestern folk artists.
José Aragón(1796-1850) New Mexico Nuestra Señora de San Juan de Los Lagos Wood, gesso, and natural pigments ca. 1825 16 1/8 x 15 1/2 inches Provenance: Peyton Wright Gallery, Santa Fe, New Mexico, 2005 Description: The depiction of this Virgin began in the town of San Juan de los Lagos, located in the eastern part of the state of Jalisco in central Mexico, and arrived in New Mexico when the chruch of Nuestra Señora de los Lagos was built in 1828 in the village of Talpa.The Madonna of San Juan differs in iconography from the Immaculate Conception because she wears a crown, a cape that spreads open at the bottom, and is flanked by two lighted candles on each side.
Pedro Antonio Fresquís (1749-1831) New Mexico Nuestra Señora de Guadalupe Wood, gesso, and natural pigment, ca. 1800 19 1/4 x 9 inches Provenance: Private Collection Albuquerque, New Mexico, 2007 Description: As in most depictions of the Guadalupana, rays of light define the halo that encircles her body. The santero’s clasical depiction of the Virgin imagines her with a five-pointed crown and an indigo cape with sgraffito stars. She stands on a crescent moon, supported by a small angel.
237 East Palace Avenue, Santa Fe, NM 87501 800.879.8898 / 505.989.9888 info@peytonwright.com www.peytonwright.com