The 26th Annual
Art of Devotion Historic Art of the Americas December 7, 2018 - March 1, 2019
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 wellknown 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.
Bernabe Lobatto (Quito School, 17th c.) Huida a Egipto c. 1675 Oil on copper 14.25 x 10.25 inches Provenance Private collection, Madrid, SP
Andres López (Mexican, 1763-1812) La Sagrada Corazon de Jesus 1785 Oil on copper 34.5 x 25 inches 43 x 34 inches framed Provenance Private collection, Brownsville, TX The devotion to the Sacred Heart (also known as the Most Sacred Heart of Jesus, Sacratissimum Cor Iesu in Latin) is one of the most widely practiced and wellknown Roman Catholic devotions, taking the heart of the resurrected Body as the representation of the love by Jesus Christ God, which is “his heart, pierced on the Cross”, and “in the texts of the New Testament is revealed to us as God’s boundless and passionate love for mankind.”
Mexico La Divina Pastora 18th c. Oil on canvas 50 x 40 inches 54.5 x 44.5 inches framed Provenance Private collection, Brownsville, TX
In 1703 Mary was given the title Divine Shepherdess, bestowed upon her by Father Isidore of Spain after a vision in which the Blessed Mother appeared to him as a shepherdess. He commissioned a painting to record his vision. This image became very popular and spread throughout the New World. Here we see the Virgin seated in a garden surrounded by her flock of sheep, while cherubs place a crown on her head. The Archangel Michael is seen in the background.
Andres Lรณpez (Mexican, 1763-1812) La Divina Pastora 18th c. Oil on copper 9 x 13 inches 19.5 x 23.5 inches framed Provenance Private collection, Brownsville, TX, c. 1990 by descent to private collection, Brownsville, TX
Andres Lรณpez (Mexican, 1763-1812) El Divino Pastor 18th c. Oil on copper 9 x 13 inches 19.5 x 23.5 inches framed Provenance Private collection, Brownsville, TX, c. 1995 by descent to private collection, Brownsville, TX
Mexico La Virgen de Merced 20 de Mayo 1749 Oil on copper 22.5 x 16 inches 27 x 20.25 inches framed Provenance Private collection, Brownsville, TX, 1996 by descent to private collection, Brownsville, TX
In December 1531, the virgin appeared to an Indian neophyte, Juan Diego. In a series of appearances to him, she stated her desire to have a church built upon the site of her appearance, the hill of Tepeyac, just outside the Mexican capital. The Virgin stands with a quietness and restraint later forsaken for the surge of the baroque. Her pose is a subtle tilt of the head and a gently curving body. Her garments are not confused with details and their softness is in harmony with her oval-shaped face. The color scheme, a blue mantle with gold stars and trim, and a red robe enriched with gold embroidery, never deviates. Nor does the cherub with brightly colored, Byzantine-like wings who appears beneth her. Her Miraculous appearance was an important factor in the conversionof the Indians. One the hill of Tepeyac there stood at the time of the conquest a temple to the goddess Tonantzin, “Mother of the People, Our Mother, “ also known as Teotonantzin, “Mother of the Gods.” This image of the Virgin Mary has become Mexico’s most popular religious and cultural symbol, and has received widespread ecclesiastical and popular support. In the 19th century it became the rallying call of Americanborn Spaniards in New Spain, who saw the story of the apparition as legitimizing their own Mexican origin and infusing it with a sense of mission and identity.
Northern Bolivian Altiplano La Sagrada Familia 18th c. Oil on canvas 42 x 92 inches Provenance Private collection, Buenos Aires, AR
The Holy Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. Veneration of the Holy Family was formally begun in the 17th century by Saint Franรงois de Laval, the first bishop of New France, who founded a Confraternity. Images of the Holy Family are found throughout art of the New World.
Bolivia La Virgen de la Leche 1625 Oil on copper 24.75 x 18.5 inches 35.37 x 33.5 inches framed Provenance Private collection, Brazil, 1969 Collection of Dr. Jose Neistein, Washington, DC
Virgin of the Milk or of the Good Milk, is also Virgin of the Rest or of the Good Rest, Virgin of Bethlehem or of the grotto of Bethlehem. It is a popular image in both the Byzantine and Roman Churches, in which she is represented in the act of breastfeeding the Child Jesus. Milk was considered refined blood from the mother’s womb, and images of the Virgin breastfeeding the Christ child had theological significance. It was thought the Virgin’s milk, like the blood of Jesus on the cross, had redemptive properties.
Cuzco, Peru The Return of the Holy Family to Nazareth c. 1700 Oil on canvas 75.37 x 53.12 inches 19.37 x 16.37 inches framed Provenance St. John Neumann Catholic Church; Austin Texas This painting is unusual in its depiction of the Holy Family returning from Egypt to Nazareth, rather than the more common depiction of the Flight into Egypt. As is common in Spanish Colonial works, Mary is depicted in period dress, although Joseph is rendered in traditional garb.
Peru Madre Dolorosa c. 1700 Oil on canvas 30 x 23.5 inches 37.5 x 30.75 inches framed Provenance Private collection, Greenwich, CT The subject “madre dolorosa� or sorrowful mother, is a common one in Spanish Colonial art. It symbolizes the sorrows suffered during her lifetime. The image typically features a praying Mary, eyes gazing upward, with a dagger piercing her chest.
Bolivia La Virgen del Rosario c. 1700 Oil on canvas 72x 52 inches 79 x 59 inches framed Provenance Galerie L’Enfant, Washington, DC The Lady of the Rosary is a title assigned to the Virgin Mary. According to Dominican tradition, in 1214, St. Dominic was in Prouille, France attempting to convert the Albigensians back to the Catholic faith. The young priest had little success until one day he received a vision of the Blessed Virgin, who gave him the Rosary as a tool against heretics. This exquisitely detailed painting imagines the Virgin in gilded robes, holding a red-beaded rosary between fingers. She is flanked by the saints Benedict and Frances monks (to the left and right respectively) below, and the Saints Catherine and Rose (to the left and right, respectively.) Mary is surrounded by small portraits that are vignettes from the life and suffering of Jesus..
Mexico The Trinity, the Virgin, and Satan’s Temptation c. 1700 Oil on canvas 33 x 24.75 inches 40.37 x 32 inches framed Provenance Private collection, Santa Fe, NM
Bolivia Our Lady of Carmel c. 1725 Oil on canvas 70 x 43.37 inches 77.5 x 51 inches framed Provenance Private collection, Sao Paolo, BR
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 century. They built in the midst of their hermitages a chapel which they dedicated to the Blessed Virgin, whom they conceived of in chivalric terms as the “Lady of the place.� Our Lady of Mount Carmel was adopted in the 19th century as the patron saint of Chile, in South America.
Peru Virgin with Two Saints c. 1700 Oil on canvas 32 x 23 inches 40 x 31 inches framed Provenance Private collection, Brazil, 1969 Collection of Dr. Jose Neistein, Washington, DC
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 Double Eagle Plancha Silver late 19th c. 37.25 x 17 inches Provenance Private collection, Fort Worth, TX
This plancha, or altar plate, features the double-headed eagle. Most modern uses of the symbol are directly or indirectly associated with its use by the Roman Empire, whose use of it represented the Empire’s dominion over the Near East and the West. The symbol is much older, and its original meaning is debated among scholars. The eagle has long been a symbol of power and dominion.
Bolivia Sagrario Sterling silver with gold vermeil c. 1700 56 x 24.5 x 21.5inches Provenance Private collection, La Paz, Bolivia
Peru Pava Hornillo Silver 50.05 oz. troy ca. 1925 10 x 12 x 2.5 inches
Argentina Baptismal Shell Silver 25.52 oz. troy ca. 1775 6.75 x 12.75 x 10 inches This elaborate baptismal shell features detailed rocaille and vegetal ornamentation. Mercury is seen holding his caduceus as he rides a fish, surrounded by flowers.
Bolivia Silver RepoussĂŠ Chairs c. 1780 Silver, wood, velvet 51.5 x 21.5 x 20.5 inches Provenance Private Collection, Guadalajara, Mexico Peyton Wright Gallery, Santa Fe, NM Private Collection, New York, NY These exquisite silver repousse chairs features the double-headed eagle symboling the Holy Roman Empire, which represent the church and state.
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.
Bolivia Colonial Medallion Wall Sconces 19th Century Silver, 154.64 oz. troy 26 x 19 x 8 inches Collection of Rose Marie and Dr. Murray, acquired in Mexico City in the late 1930s/early 1940s; by descent to Joseph Paul and Billie Schaumberg, Santa Fe, NM; by descent to Mark Schaumberg, Santa Fe, NM; by descent to Marcos Schaumberg and Trace Schaumberg, Santa Fe, NM; Collection of Peyton Wright Gallery, Santa Fe, NM in 2016 This pair of silver sconces feature elaborate vegetal ornamentation and pairs of birds around a central convex medallion.
Mexico Pair of Sconces c. 1750 Silver and brass 12 x 8 x 5.5 inches Provenance Private collection, Fort Worth, TX This pair of Mexican sconces features elaborate rocaille ornamentation, and excellent craftsmanship.
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.
Germany Christ as “Noli Me Tangere”
c. 1480 Wood, polychrome 48.75 x 11 x 16 inches
“Noli me tangere,” meaning “touch me not” or “don’t step on me”, is the Latin version of words spoken, according to John 20:17, by Jesus to Mary Magdalene when she recognized him after his resurrection. It refers to the fact of Christ’s imminent ascension, and that he no longer inhabited an earthly body. This exquisite sculpture from Germany features richly detailed anatomy and sorrowful, expressive facial features.
South Germany / North Italy Madonna and Child 16th c. Polychromed wood 17.5 x 11 x 8 inches
Mexico Saint Martin of Tours c. 1700 Wood, gesso, polychrome 40.5 x 25 x 18 inches Provenance: Ex collection of Eugene Iglesias, Hollywood, CA Saint Martin of Tours was Bishop of Tours, whose shrine in France became a famous stopping-point for pilgrims on the road to Santiago de Compostela in Spain. He has become one of the most familiar and recognizable Christian saints, sometimes venerated as a military saint. He is most frequently depicted on horseback, dividing his cloak for a beggar. This fine sculpture is an exception: MartĂn stands over the supplicant, drawing his sword in preparation. He is popular around the world, and is known as the patron saint of beggars, innkeepers, vintners, and horsemen, among other things. He is particularly popular in the New World, and in Mexico he is considered beneficial to shopkeepers.
Brazil Virgin of the Assumption c. 1750 Wood, gesso, polychrome 39.5 x 16.75 x 13 inches This sculpture depicts the Assumption of the Virgin Mary, or, the taking up into Heaven of her body at the end of her life.
Mexico Saint Jerome c. 1700 Wood, gesso, polychrome 64.5 x 44.5 inches 70 x 50.5 inches framed Provenance Ex Collection of Eugene Iglesias, Hollywood, CA This fine Mexican sculpture depicts Saint Jerome (c. 347 – 30 September 420), widely revered as a priest, confessor, theologian and historian. He was the son of Eusebius, born near Emona on the border of Dalmatia and Pannonia, then part of northeastern Italy. He is best known for his translation of most of the Bible into Latin (the translation that became known as the Vulgate), and his commentaries on the Gospels. He is often depicted with a lion, as seen here, in reference to the popular hagiographical belief that Jerome had tamed a lion in the wilderness by healing its paw.
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.
Peru Sacristo Cabinet c. 1700 Wood Gesso, repousse Silver, Gold Leaf, and Pigment 90 x 42 x 23 inches This extravagantly detailed, pastiche cabinet is composed of a variety of elements. The front door panels are covered with repoussĂŠ silver in raised shapes and flourished designs and surrounded by a gold-leafed border. The top of the cabinet features a large heart, pierced with swords, and flanked on both sides by instrument-bearing mermaids. Crafted in Bolivia in the 18th century, the piece has interior shelving and ample storage.
Peru Cedar Table Cedar wood with iron c. 1600 32.5 x 53 x 31.5 inches Provenance Private collection, Miami, FL
Spain Baroque Cabinet Walnut with original iron hinges 69 x 35 x 24 inches The rectangular case with four doors is carved with stylized flowerheads, and with concave and convex radiating petals. The lower door is carved with radiating palmettes.
South America Sideboard 18th Century Tropical South American hardwood 36.75 x 81 x 31.62 inches This fine sideboard from the nortern part of South America features three kinds of hardwood, the primary is manariballi (dimorphandra polyandra). The piece features mortise and tenon construction, finely carved floral decoration, brass bale handles with escutcheons with floral motifs.
Spain VargueĂąo 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 vargueĂąo features richly detailed fruitwood and ivory inlay with two internal locking drawers, finely wrought iron locks and hinges.
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.
JosĂŠ Benito Ortega Virgen de la Soledad Wood, gesso and natural pigment c. 1890 26 x 10 x 4 inches Provenance: Private Collection, California The Virgen de la Soledad was a popular subject in the Christian art of Spanish-speaking regions. It depicts the Virgin in contemplation on Holy Saturday while she awaits the Resurrection.
Pedro Antonio FresquĂs (1749-1831) San Rafael c. 1790 Wood, gesso and polychrome 16.25 x 10 inches San Rafael is archangel who in the Christian tradition performs all manner of healing. He is said to guard pilgrims on their journeys, and is often depicted holding a staff. He is also often depicted holding or standing on a fish, which alludes to a story form the Book of Tobit in which he healed Tobit with a fish’s gall.
Santo NiĂąo Santero (1830-1860) Santa Gertrudis 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.
José Aragon(1858-1941) Nuestra Señora de San Juan de los Lagos c. 1800 Ponderosa pine, gesso, natural pigments 16 x 15.5 inches Nuestra Señora de San Juan de los Lagos is a Roman Catholic title of the Blessed Virgin Mary venerated by Mexican and Texan faithful. The original image is a popular focus for pilgrims and is located in the state of Jalisco, in central Mexico, northeast of the city of Guadalajara.
Pedro Antonio FresquĂs (1796-1850) San Isidro c. 1825 Ponderosa pine, gesso and natural pigment 13 x 9 x 13.25 inches San Isidro the Farmer, or San Ysidro Labrador, is here depicted wearing a blue coat and breeches, red vest and flat crowned hat, which was the dress of New Mexican colonial farmers. He drives a team of oxen pulling an old style wooden plough; sometimes with an angel beside him. Legends tell that his desire to pray in the fields of his master was rewarded by an angel coming to drive his team for him. He is patron of Madrid and of New Mexican farmers.
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