The 22nd Annual
Art of Devotion
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, Spanish and Flemish traditions, but also evidenced an incorporation of native expression and style. By the 17th century, engravings of religious paintings by well-known artists 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.
Mexico The Vision of Saint Eustace Oil on canvas ca. 1750 56 x 40 inches 62 x 46 inches framed Provenance: Estate of Joseph (Guiseppe) Santoro, Litchfield, CT, 2014 Saint Eustace, also known as Eustáchius or Eustáthius or Eustáthios, is revered as a Christian martyr and soldier saint. Legend places him in the 2nd century AD. A martyr of that name is venerated as a saint in the Anglican Church. He is commemorated by the Roman Catholic Church and the Orthodox Church on September 20. According to legend, prior to his conversion to Christianity, Eustace was a Roman general named Placidus, who served the emperor Trajan. While hunting a stag in Tivoli near Rome, Placidus saw a vision of a crucifix lodged between the stag’s antlers. He was immediately converted, had himself and his family baptized, and changed his name to Eustace (Greek: Eustáthios), “well stable”, or Eustáchios (“fruitful/rich grain”). A series of calamities followed to test his faith: his wealth was stolen; his servants died of a plague; when the family took a sea-voyage, the ship’s captain kidnapped Eustace’s wife Theopista; and as Eustace crossed a river with his two sons Agapius and Theopistus, the children were taken away by a wolf and a lion. Like Job, Eustace lamented but did not lose his faith. He was then quickly restored to his former prestige and reunited with his family; but when he demonstrated his new faith by refusing to make a pagan sacrifice, the emperor, Hadrian, condemned Eustace, his wife, and his sons to be roasted to death inside a bronze statue of a bull or an ox, in the year 118 CE. Eustace became known as a patron saint of hunters and firefighters, and also of anyone facing adversity; he was traditionally included among the Fourteen Holy Helpers. He is one of the patron saints of Madrid, Spain. The island of Saint Eustatius in the Caribbean Netherlands is named after him.
SOLD
Mexico Miguel Mateo Maldonado y Cabrera (1695–1768) Our Lady of Carmel Saving the Souls in Purgatory Oil on copper ca. 1765 24.6 x 18.5 inches 29 x 23 inches framed Provenance: Costaner Antiques, 2014 Private Collection, Santiago Chile, from the mid-20th century Our Lady of Mount Carmel has been associated with Purgatory for centuries. In some cases, she is shown accompanied with angels and souls wearing Brown Scapulars, who plead for her mediation. In 1613, the Church forbade images of Our Lady of Mt. Carmel descending into purgatory to be made, due to errors being preached about certain privileges associated with the Brown Scapular (“the Sabbatine Privilege”). This exquisite painting on copper shows a finely detailed Virgin at the center of the composition, angels lifting her up and surrounding her Heavenly Crown.
Mexico Pedro Ramirez (1638-1679) Capture of Christ at the Mount of Olives Oil on canvas ca. 1660 65.5 x 42.5 inches Provenance: Art Market, Boonton, NJ Pedro Ramirez was a major Mexican artist of the middle of the 17th century, working primarily in Mexico City. He was the aesthetic and stylistic precursor of certain tonalities of color heretofore unseen in Mexican painting. Ramirez created a theatrical realism that influenced later artists such as Juan Correa and Cristobal de Villatando. Ramirez works can be seen in the Cathedral of Mexico City and many other important churches and convents throughout Mexico. His works are also included in the National Museum of Mexico, and his painting “The Marriage of the Virgin� was recently acquired by the Los Angeles County Museum of Art.
Mexico Archangel Gabriel Oil on canvas Ca. 1750 64 x 40 inches 74 x 49.25 inches In Abrahamic religions, Gabriel is an archangel who typically serves as a messenger sent from God to certain people. In the Bible, Gabriel is mentioned in both the Old and New Testaments. In the Old Testament, he appeared to the prophet Daniel, delivering explanations of Daniel’s visions (Daniel 8:15–26, 9:21–27). In the Gospel of Luke, Gabriel appeared to Zecharias, and to the Virgin Mary foretelling the births of John the Baptist and Jesus, respectively (Luke 1:11–38). In the Book of Daniel, he is referred to as “the man Gabriel”, while in the Gospel of Luke, Gabriel is referred to as “an angel of the Lord” (Luke 1:11). Gabriel is not called an archangel in the Bible, but is so called in Intertestamental period sources like the Book of Enoch. In the Roman Catholic, Anglican, Lutheran, Eastern and Oriental Orthodox churches, the archangels Michael, Raphael, and Gabriel are also referred to as saints. In this exceptional depiction, Gabriel can be seen uttering the words “Ave Maria Gratia Plena,” the first words of the Annunciation to the Virgin Mary that she is to be the Mother of God.
Mexico F. M. Herrera Adoration of the Christ Child Oil on copper 1752 12.75 x 11 inches Signed and dated lower right Provenance: Private Collection, New York, NY This exquisite painting on copper depicts the events of the Nativity as described in the Gospels of Matthew and Luke, in which angels announced the birth of the Savior to nearby shepherds. At the top of the painting can be seen God the Father and the Holy Spirit as symbolized by the White Dove.
Mexico Slaughter of the Innocents Oil on canvas ca. 1725 31.5 x 41.5 inches 41.37 x 51.5 inches framed Provenance: Private Collection, San Diego, CA The Slaughter (or Massacre) of the Innocents is the biblical narrative of infanticide by Herod the Great, the Roman-appointed King of the Jews. According to the Gospel of Matthew, Herod ordered the execution of all young male children in the vicinity of Bethlehem, so as to avoid the loss of his throne to a newborn King of the Jews whose birth had been announced to him by the Magi. In typical Matthean style, it is understood as the fulfillment of an Old Testament prophecy: “Then was fulfilled that which was spoken through Jeremiah the prophet, saying, ‘A voice is heard in Ramah, mourning and great weeping, Rachel weeping for her children and refusing to be comforted, because her children are no more.’”
Peru Patio del Palacio del Virrey del Peru en Lima Cusco School Oil on linen ca. 1750 49.12 x 68.25 inches Provenance: Art Market, Barcelona Spain Private Collection, Barcelona, Spain The Government Palace, erected in 1535, was built by Francisco Pizarro, the governor of New Castile. When the viceroyalty of Peru was established, the palace became the viceroy’s residence and therefore the Peruvian government’s headquarters. The main architect of the palace was Ricardo de Jaxa Malachowski. In the middle of the painting you can see distant mountains from the door of the palace which can also be seen from the present building. Also some details of the courtyard with changes are still present in The Government Palace. The painting is anonymous, probably done by a native of Lima.
Mexico Juan Correa (1646-1716) The Coronation of the Eucharist Oil on canvas ca. 1715 78 x 65.25 inches Provenance: Collection of Dr. Jose Neinstein, Washington, D.C. Mexican-born painter Juan Correa was active in Mexico City between 1667 and 1716. Born to a family of artisans, he produced many prominent altarpieces for the churches of Mexico City, including La Iglesia de San Pablo, La Iglesia de San Pedro, and La Iglesia de Veracruz. This superb painting depicts the honoring of one of the central rites of the Catholic Church: the Eucharist, or the transsubstantiated Body and Blood of Christ, here seen in an elaborate monstrance.
Altiplano The Fountain of Tears Oil on canvas ca. 1700 46 x 66 inches 50.75 x 70.75 Attributed to the Workshop of Leonardo Flores, Alto, Peru. Provenance: Collection of Dr. Jose Neinstein, Washington, D.C. This work is in part based upon a Flemish print by Boece a Bolswerte, “the Fountain of Tears” (1623), a copper engraving in Herman Hugo’s emblem book Pia Desideria (Illus 8). The dating of the painting is based upon comparable landscapes and figures in narrative paintings by Leonardo Flores (1650-1710). Roses also feature in paintings by Flores, whose name means “flowers”. Flores and his workshop looked greatly to Flemish prints for inspiration, yet presented subtle variations. See van Barghahn, “Leonardo Flores”, Latin American Art, 5, No. 2, 47-49.
Mexico The Attempted Poisoning of Saint Benedict Oil on canvas 27.5 x 31.5 inches 50.75 x 70.75 Provenance: Private Collection, San Diego, CA St. Benedict was born in Nursia in central Italy sometime around 480 AD. He was sent to Rome for his studies, but finding Rome too worldly, he soon left there. He soon retired to a cave near Subiaco to live in solitude. He became known for his sanctity and many came to him to join him in his monastic way of life. About the year 530 he left Subiaco and founded Montecassino, where he lived until his death in 550 and is still occupied by Benedictine monks today. It was at Montecassino that he wrote his famous Regula (Rule) which has formed the basis of Western Monasticism and was a very potent force in the building up of civilization in Europe. As a result, he is called the Father of western monasticism and was proclaimed Patron of Europe by Pope Paul VI in 1964. While he was living in the cave near Subiaco, the monks of Vicovara pleaded with St. Benedict to become their abbot, their previous abbot having passed away. St. Benedict was reluctant to do so since it was clear to him that the monks of Vicovara did not lead lives in accord with the monastic ideals he himself held. Despite St Benedict’s warning, they were insistent so he eventually accepted and became the head of their group. Soon afterwards it was clear that the good saint was right in his estimation of the monks for many monks began to resist the saint’s gentle guidance. One group went so far as to try and poison St. Benedict’s wine. It was St Benedict’s custom to always say the blessing before eating and upon making the sign of the cross over the cup, it shattered, spilling the poison wine.
Mexico San Pedro de San José Betancur Oil on panel 1667 8 x 6 inches 15.5 x 13 Provenance: Private Collection, New York, NY This superb painting depicts Brother Peter of Saint Joseph Betancur (March 21, 1626 (Tenerife) - April 25, 1667 (Antigua Guatemala), called Hermano Pedro de San José Betancurt or more simply Hermano Pedro, Santo Hermano Pedro, or San Pedro de Vilaflor, a Spanish saint and missionary. Known as the “St. Francis of Assisi of the Americas”, he is the first saint native to the Canary Islands, is also considered the first saint of Guatemala and Central America. St. Pedro is considered the great evangelist of the West Indies. He is sometimes credited with introducing to the Americas, the Christmas Eve posadas procession, in which people representing Mary and Joseph seek a night’s lodging from their neighbors. The custom soon spread to Mexico and other Central American countries. He was also known to work miracles, including healing the sick.
Mexico Saint Ciprian Oil on copper ca. 1725 12 x 8.5 inches 15.5 x 12 Provenance: Private Collection, New York, NY This exquisite oil on copper depicts Saint Cyprian praying to the Virgin while angels play music and watch. Cyprian (Latin: Thascius Caecilius Cyprianus) (c. 200 – September 14, 258) was bishop of Carthage and an important Early Christian writer, many of whose Latin works are extant. He was born around the beginning of the 3rd century in North Africa, perhaps at Carthage, where he received a classical education. After converting to Christianity, he became a bishop soon after in 249. A controversial figure during his lifetime, his strong pastoral skills, firm conduct during the Novatianist heresy and outbreak of the plague, and eventual martyrdom at Carthage vindicated his reputation and proved his sanctity in the eyes of the Church. His skillful Latin rhetoric led to his being considered the pre-eminent Latin writer of Western Christianity until Jerome and Augustine.
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.
Mexico Chandelier Silver, 211.64 oz. troy 18th Century 38 x 23 x 23 inches Provenance: Private Collection, Fort Worth, TX Spanish Colonial chandeliers were popular objects for devotional offerings, and therefore often bore inscriptions to this purpose. This six-candle chandelier is unmarked and unsigned, and thus may have been commissioned by or for a church. Its design is predominately organic, featuring floral and vegetal decoration and ornamentation.
Bolivia Cafetera Silver, 45.86 oz. troy 19th Century 12 x 8 x 5.5 inches By the 19th century Spanish Colonial silversmiths had adopted a simpler, Classic style, rather than the ornate and elaborate designs of previous centuries. This is evident in this two-chamber Bolivian cafetera, with its C-shaped handles with ridged flourishes, and finial. In addition, this piece features finely hammered and annealed silver.
Bolivia Pair of Seven-Armed Candelabrum Hammered and repoussÊ silver ca. 1775 25.25 x 17 x 6 inches Provenance: Private Collection, Amarillo, TX The seven-armed candelabrum was typically considered to be religious silver work, and was used on the altar. It was inspired by the Jewish menorah of the Temple of Jerusalem, and was used in a Bishop’s mass to represent the seven gifts of the Holy Spirit. This exquisite pair of hammered and repousse silver candelabrum dates from circa 1800 and features an elaborate floral and geometric design.
Bolivia Pair of Seven-Armed Candelabrum Hammered and repoussĂŠ silver ca. 1775 25.25 x 17 x 6 inches Verso
Bolivia Pava Hornillo Silver, 63.6 oz. troy ca. 1875 10 x 7 x 11.5 inches This exceptional and rare late 19th century Bolivian silver pava hornillo features a rectangular form with canted corner panels and top, a figural duck spout, the double baluster handle supported by a pair of winged espagnolettes, the side panels densely embossed and chased with scrolling foliate forms and heraldic crowned lion passant rampant, the end panel with an embossed coat-of-arms with shield bearing the tower of Castile and hound supporters, the canted corner panels decorated in raised relief with figures in 18th century dress, the whole raised on figural cherubs and bun supports. It is hallmarked with three contemporaneous punches.
Lima, Peru Estribo Silver 12.65 oz. troy ca. 1800 7.62 x 4 x 5.25 inches
Peru Estribo Silver 20.24 oz. troy ca. 1725 4.25 x 10 x 4.5 inches
Lima, Peru Estribo Silver 15.18 oz. troy ca. 1800 7.62 x 4 x 5.25 inches
Provenance: Private Collection, Cambridge, MA Private Collection, Washington, DC These richly detailed silver stirrups feature delicate floral and botanical designs, typical of those used by the wealthy women of Colonial Peru.
Bolivia Cafetera Silver pear shaped repoussĂŠ with foliage scrolls 70.82 oz. troy 20th Century 13 x 12 x 8 inches Provenance: Private Collection, Amarillo, TX Pear shaped and on a spreading foot, the lower body repoussĂŠ chased with foliage scrolls on textured ground, with a carved silverhandle, the hinged cover topped with a dog with leash finial, the spout with a bird head.
Bolivia Pair of Candlesticks Silver 121.4 oz. troy ca. 1750 17.5 x 6.37 x 6.37 inches This pair of Bolivian candlesticks is rendered with an elegant design, and with excellent craftsmanship.
Luso-Brazilian Centerpiece Silver 61.3 oz. troy ca. 1775 17 x 17 x 3.75 inches This elaborate Brazilian centerpiece features highly ornate repoussĂŠ and chisel work with scroll, scallop and floral decoration.
Peru Milk Can Silver 188.12 oz. troy ca. 1800 19 x 13.5 x 11 inches This beautifully crafted silver milk jug features a crest medallion and bovine finial with delicate sgraffito decoration at the bottom.
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.
Italy The Lamentation of Christ Oil on copper 1620 16.12 x 11.5 inches The Lamentation of Christ is a common subject in Christian art from the High Middle Ages to the Baroque. It depicts the event from the Passion when the Body of Christ was deposed from the cross. In this composition we see the Virgin Mary, Mary Magdalene and St. John the Evangelist mourning the Crucified Christ.
Italy Attributed To Pier Francesco Cittadini (1616-1681) Cardinal St. Carlo Borromeo Oil on canvas ca. 1640 45 x 36.5 inches 48 x 39.5 inches framed Provenance: Private Collection, Los Angeles, CA Private Collection, Washington, D.C. Pier Francesco Cittadini (1616–1681) was an Italian painter of the Baroque period, active mainly in Bologna and painting lush and rich still lifes. Initially a pupil of Daniele Crespi, Cittadini moved to Bologna before the age of 20 to study with Guido Reni, whose influence is clearly evident in such early works as the “Stoning of Saint Stephen,” “The Flagellation,” and “The Crowning with Thorns“ in the church of Santo Stefano, Bologna. He travelled to Rome in the mid-1640s and came into contact with the French and Flemish artists living there. This international melting pot gave rise to an original artistic vocabulary aimed at the naturalistic depiction of reality in a vast number of still lifes, landscapes and portraits. He also painted decorative frescoes for the Ducal Palace of Sassuolo. Charles Borromeo (Italian: Carlo Borromeo, Latin: Carolus Borromeus, 1538–1584) was the cardinal archbishop of Milan from 1564 to 1584. Among the great reformers of the troubled sixteenth century, Borromeo, with St. Ignatius of Loyola, St. Philip Neri, and others, led the movement to combat the inroads of the Protestant Reformation. He was a leading figure during the Counter-Reformation and was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests. He is honoured as a saint in the Catholic Church and his feast day is November, 4th.
Italy Attributed To Pier Francesco Cittadini (1616-1681) Saint Vincent de Paul Oil on canvas ca. 1640 45 x 36.5 inches 48 x 39.5 inches framed Provenance: Private Collection, Los Angeles, CA Private Collection, Washington, D.C. St. Vincent de Paul (24 April 1581 – 27 September 1660) was a priest of the Catholic Church who dedicated himself to serving the poor. He is venerated as a saint in the Catholic Church and the Anglican Communion. He was canonized in 1737. De Paul was renowned for his compassion, humility, and generosity and is known as the “Great Apostle of Charity”.
Italy Filippo Gagliardi (active Rome 1637, d. 1659) Capriccio with The Colosseum, The Arch of Constantine, and The Tower of Maecenas Oil on canvas ca. 1640 58 x 76 inches 65.5 x 84 inches framed Provenance: Private Collection, London, England Chaucer Fine Arts, London, England, 1980 Filippo Gagliardi was a master of the capriccio, an architectural fantasy in which well-known ruins and other renowned architectural sites and features are combined to depict a fictional location. This exceptional painting depicts the Roman Colossuem, the Arch of Constantine, and the Tower of Maecenas.
ON RESERVE
Italy Gaspare Landi (1756-1830) The Departure of Hector from Andromache Autograph replica of the painting in Museo Civico Piacenza Oil on canvas 1794 56 x 80 inches Provenance: The Joseph Sorger Collection Philadelphia, PA, 1930-2010 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 is the family’s last encounter, as Hector is hastily arming himself to go forth from Troy to engage the invincible Achilles, which encounter will end with his own death.
Italy Francesco Gessi (1588 -1649) Penitent Magdalene Oil on canvas 1635-1640 38.25 x 28.15 inches 47 x 36.87 inches framed Francesco Gessi was one of the most talented disciples of Guido Reni (1575-1642), with whom he collaborated in Rome, Ravenna, Mantua, and Naples. Although Gessi soon became an independent and successful master in Bologna, he continued to look at his master’s paintings for inspiration, and was able to adapt Guido’s style to his own with originality and intelligence. The subject of the Magdalene as a sinner and fallen woman returned to the path of virtue by Jesus was very popular in the 17th century, allowing artists to combine eroticism and religion without courting scandal. This version of the subject shows her at a moment of elation and deep repentance, with tears in her eyes (referring to her washing Jesus’ feet and drying them with her hair) and her gaze raised heavenwards.
Italy Flaminio Torre (1621-1661) Saint J茅r么me Oil on canvas ca. 1650 37.25 x 29.12 inches Flaminio Torre was an Italian Baroque painter of the Bolognese School, active during the Baroque period. He was a pupil of Guido Reni, Giacomo Cavedone, and Simone Cantarini. He was also called Degli Ancinelli, and painted for churches in Bologna; including a Deposition from the Cross for S. Giorgio. Torre died in Modena. Among his pupils were Giulio (or Giuseppe) Cesare Milani, Giovanni Maria Viani, and Alessandro Badile. This painting depicts Saint Jerome in his study, a popular subject in European art. Jerome was an avid scholar who spoke several languages, and is credited with important early translations and corrections of the Scriptures.
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.
Mexico Pair of Archangels Wood, gesso, polychrome and gold ca. 1675 37 x 17.25 x 18.75 inches This pair of carved wooden archangels displays superb craftsmanship. They retain much of their original polychrome and gold leaf.
Brazil Shrine Huamanga stone, gilt-wood, polychrome ca. 1775 22.75 x 8.5 x 3.5 inches In this superb, intricately carved shrine Christ is flanked by the Virgin and St. Joseph. Below center is the prophetess St. Anne. The lower saint is St. Teresa of Avila in repose.
Mexico Santo Ni単o Wood, gesso, polychrome ca. 1700 27 x 9.75 x 7.25 inches This figure of the Santo Ni単o, or Holy Child, depicts the infant Jesus holding the world in his left hand and making a gesture of blessing with the right. This finely made work displays a high level of anatomic realism.
Austria St. Florian Carved wood 18th Century 77 x 28 x 15 inches Provenance: Private Collection, Fort Worth, TX Saint Florian (Latin: Florianus; civil name: Florian von Lorch; died ca. 304) is a Christian saint, and the patron saint of Linz, Austria; chimney sweeps; soapmakers, and firefighters. His feast day is May 4. St. Florian is also the patron of Upper Austria, jointly with Saint Leopold. Florian was born about 250 AD in the ancient Roman city of Aelium Cetiumin in present-day Sankt PĂślten, Austria. He joined the Roman army and advanced in the ranks,rising to commander of the imperial army in the Roman province of Noricum. In addition to his military duties, he was also responsible for organizing firefighting brigades. Florian organized and trained an elite group of soldiers whose sole duty was to fight fires. During the Diocletianic Persecution of Christians, reports reached Rome that Florian was not enforcing the proscriptions against Christians in his territory. Aquilinus was sent to investigate these reports. When Aquilinus ordered Florian to offer sacrifice to the Roman gods in accordance with Roman religion, he refused. Florian was sentenced to be burned at the stake. Standing on the funeral pyre, Florian is reputed to have challenged the Roman soldiers to light the fire, saying “If you do, I will climb to heaven on the flames.â€? Apprehensive of his words, instead of burning Florian, he was executed by drowning in the Enns River with a millstone tied around his neck. His body was later retrieved by Christians and buried at an Augustinian monastery near Lorch. Later a woman named Valeria had a vision in which she saw him; Florian, in this vision, declared his intent to be buried in a more appropriate location.
Colonial Goa Sao Israfel Wood, gesso, polychrome ca. 1775 36.5 x 22 x 18 inches Provenance: Private Collection, Santa Fe, NM Israfel (The Burning One), is known as the Trumpet Angel in Islam. Along with Mikhail, Gabriel and Izrail, he is one of four Islamic archangels. In the Judeo-Christian tradition the archangel Raphael is the counterpart of Israfil. The excellent figure displays the strong Hindu sculptural tradition extant in Goa, as well as the intermingling of Hindu, Islamic and Christian traditions.
Ecuador Mary Magdalene Wood, gesso, pigment, gold leaf in estofado ca. 1750 8.5 x 4.5 x 4 inches Provenance: Private Collection, Colorado Springs, CO Small devotional sculptures were prevalent in Guatemala, in the Audiencia of Charcas (present-day Bolivia), and New Granada (present-day Ecuador and Colombia). Those in Guatemala were probably produced locally, but a number of pieces in Charcas and New Granada may have been imported from Quito. Quito sculptors specialized in small-scale polychromed wood figures, producing works of exceptional quality. The gilding and polychromy of the draperies and the highly polished flesh tones give these small sculptures a distinctive quality reminiscent of porcelain figurines. The technique used for the surface finishes and colors, estofado, of these groups depended on skills practiced in Spain and Portugal, which were developed and adapted to the small size of the South American pieces. The word estofado comes from estofa, meaning “textile,� and is used to describe this technique because the painted surface imitates a fine fabric, such as brocade or embroidered silk.
Bolivia Archangel Saint Michael Wood, gesso, goldleaf, polychrome and silver 19th Century 63 x 60 x 20 inches Provenance: Private Collection, Miami, FL 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; this depiction exemplifies this understanding of the saint. 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 lifelike 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.
Luis Alberto Mora Valencia Luis Mora was born in Guadalajara City, Jalisco, Mexico of native Mexican parents and grandparents whose family roots originated in Spain at least four generations ago. Before turning to wood carving he tried out careers in real estate and in the import-export business, the latter specializing in Mexican arts and crafts. It was here that he was exposed to the Mexican santero tradition, and first got his inspiration for carving bultos. With a firm grounding in Catholicism supported by rigorous study, Mora spent many years refining his craft and today is known as one of Mexico’s master santeros.
Mexico Luis Mora Madonna del Refugio Wood, gesso, 23 kt. gold leaf, polychrome and varnish 2007 28 x 14 x 8 inches Provenance: Estate of Jean Macdonald-Wright Collection of the artist
Mexico Luis Mora Saint Michael Wood, gesso, gold, polychrome and varnish 2007 43.5 x 27.25 x 20.5 inches Provenance: Estate of Jean Macdonald-Wright Rose Fried Gallery, New York, NY Collection of the artist
Mexico Luis Mora Immaculada Wood, gesso, gold leaf, polychrome and varnish 2007 33 x 12 x 12 inches Description: Estate of Jean Macdonald-Wright Collection of the artist
Mexico Luis Mora
Saint Francis Wood, gesso, gold, polychrome and varnish 2007 31 x 12.5 x 10 inches Provenance: Estate of Jean Macdonald-Wright Collection of the artist
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.
Mexico Vargue単o with Stand Wood 1750 53 x 39.87 x 17.5 inches The vargue単o is a wooden cabinet of mixed Spanish and Oriental origin that first appeared in Europe in the late Middle Ages. It became a common article of furniture in the Spanish colonial empire from the late 16th century onward. Its major component is a chest with a drop front. The interior is divided into an intricate arrangement of drawers and recesses for holding jewels, documents, and other valuables. The drawers and recesses are often inlaid with ivory, silver, or gold and are occasionally stained in bright colours. This vargue単o features ivory handles and elaborate iron hinges and lock.
Spain Vargue単o Bone, ivory, fruitwood, iron ca. 1650; set on 19th c. base 54.5 x 38.25 x 21.25 inches Provenance: Dr. Harry P. Mera, Scottsdale, AZ Dr. Frank E. Mera, Scottsdale, AZ This vargue単o features richly detailed fruitwood and ivory inlay with two internal locking drawers, finely wrought iron locks and hinges.
Guatemala Shaman’s Table Wood ca. 1840 27 x 46.5 x 18.7 inches This late colonial table from Guatemala features elaborate flora and fauna decoration. It features four drawers with original pulls.
Portugal Baul Wood, bone, mother-of-pearl, copper 18th Century 6.5 x 8.5 x 4.25 inches Provenance: Art Market, Boonton, NJ This exquisite baul, or jewelry box features exquisite bone and mother-of-pearl inlay, and finely worked copper hinges and lock.
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.
Jos茅 Rafael Arag贸n (1795-1862) Our Lady of Talpa Wood, gesso and natural pigment with a cape and dress of cloth ca. 1840 6.5 x 8.5 x 4.25 inches Our Lady of Talpa is a miraculous image of the Blessed Virgin, celebrated in the village of Talpa, Jalisco in Mexico since since the 17th century. A sister pilgrimage shrine to San Juan de los Lagos, Talpa also attracts throngs of pilgrims to its yearly festivals. In New Mexico, devotion to Our Lady of Talpa is found particularly in the Taos area. The private chapel built by Nicolas Sandoval in Rio Chiquito (Now Talpa), in 1838 was dedicated to her.
José Rafael Aragón (1795-1862) Our Lady of Mount Carmel Wood, gesso and natural pigment ca. 1840 15 x 5.25 x 1.15 inches Provenance: Private Collection, California Our Lady of Mount Carmel is the title given to the Blessed Virgin Mary in her role as patroness of the Carmelite Order. The first Carmelites were Christian hermits living on Mount Carmel in the Holy Land during the late 12th and early to mid 13th centuries. They built a chapel in the midst of their hermitages which they dedicated to the Blessed Virgin, whom they conceived of in chivalric terms as the “Lady of the place.” Our Lady of Mt. Carmel is the patron saint of Chile.
Santo Ni単o Santero (1830-1860) Saint Gertrude the Great Wood, gesso and natural pigment ca. 1835 11.25 x 6.5 x 2.25 inches St. Gertrude was a Benedictine visionary of the 13th century devoted to the study and worship of the Sacred Heart of Jesus, known for her writings of mystical experiences and visions. Her writings were re-published inthe 16th century and were particularly popular in Spain where mystics such as St. Teresa adopted St. Gerturde as her model and guide. Devotion to St. Gertrude travelled from Spaing to the New World in the early colonial period. She is depicted in the black habit of her Order, holding the Sacred Heart.
Molleno Santero Virgen de la Soledad Wood, gesso and natural pigment ca. 1820 16 x 11.25 x 1 inches Provenance: Private Collection, California The Virgen de la Soledad was a popular subject in the Christian art of Spanishspeaking regions. It depicts the Virgin in contemplation on Holy Saturday while she awaits the Resurrection.
Arroyo Hondo Santero (1830-1840) Crucifix with Attending Angel Wood, gesso and natural pigment ca. 1835 43.5 x 28 x 6 inches The superb bulto of the crucified Christ is notable for the attending angel who catches the Holy Blood in a chalice.
Jorge Lopez (1900-1993) Death Cart Aspen wood and wool 1976 41 x 32 x 74 inches
Signed ‘George T. Lopez’ and dated ‘4-18-76’ on bottom
George T. López learned the art of woodcarving at the knee of his father, José Dolores López, whose work had spurred a revival of Hispanic carving in Córdova, New Mexico, in the early decades of the twentieth century. George López carved only part-time until 1952, when he opened a workshop with his wife, Silvianita, also a carver. A devout Catholic and a member of the Brotherhood of Our Father Jesus Christ Nazarene, commonly known as the Penitentes, López devoted himself to the carving of santos and taught his nieces and nephews to carve the traditional religious images of Hispanic New Mexico. Death carts, with their terrifying figures of La Muerte, are a peculiarly New Mexican art form, appearing in the Holy Week processions of the Brotherhood. In their secret rites, Penitentes dragged the heavy, cumbersome death carts to calvarios, where they commemorated the Crucifixion. The carts represent the power of Death during the period between the Crucifixion and the Resurrection, and the ritual foretells the miracle of Christ’s ultimate triumph over death. Such carts had their origin in Spanish religious drama. Carved from aspen with simple tools and held together by rawhide straps and mortise-and-tenon joints, this death cart is modeled on the celebrated Penitente carts made by Nasario López, George’s grandfather. Typical of La Muerte figures from the Sangre de Christo region, sometimes also known as Doña Sebastiana, this form has grotesquely enlarged feet and hands, wispy hair that forms a braid, an abstracted rib cage, gouged-out eyes, and a cruel mouth. The figure threatens the viewer with a bow and arrow and carries in her cart a scythe, an ax, and a hammer. Although not intended for ceremonial use, this work is nevertheless a powerful memento mori.
Attributed to José Lucero Granero Wood and wrought iron ca. 1825 36 x 48.5 x 26 inches Antonio Marita Lucero (b.ca. 1783 and his half-brothers, Lorenzo, Mariano, and Jose (b. ca. 1798) maintained a caprentry trade of their family in the “barrio de San Francisco.” The 1821 church census of the parish of San Francisco lists Lorenzo Lucero and his family immediately before the household of Jose Rafael Aragon in the” barrio de San Francisco.” This physical proximity is repeated in the 1823 census of the “Barrio de San Francisco.”
José Rafael Aragón (1795-1862) San José con Niño Wood, gesso and natural pigment ca. 1850 20.5 x 11.12 inches In one of the legends about the Blessed Virgin’s betrothal, the High Priest of Judea assembled all the widowers of the land and asked them each to put a staff upon the altar of the temple. When Joseph put his staff on the altar, it bloomed miraculously, indicating that he was divinely chosen to be the husband of Mary.
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