27th Annual The Art of Devotion ~ Historic Art of the Americas

27th Annual The

Art of Devotion

Historic Art of the Americas December 6, 2019 - February 29, 2020

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.

Cusco, Peru Circle of Diego QuispĂŠ Tito (1611-1681) Archangel Uriel c. 1675 Oil on canvas 63 x 40 inches 72 x 48 inches framed Provenance Acquired in Brazil ca. 1970 by Dr. Jose Neistein, Executive Director Brazilian American Cultural Institute Private collection, Centerville, VA 1991

Cusco, Peru La Virgen de Valvanera 18th c.

Oil on copper 51.75 x 46 inches 61.25 x 55.37 inches framed Provenance Private collection, Dallas, TX

Cusco, Peru San Cristobal con Cristo NiĂąo c. 1775 Oil on canvas 25.75 x 23.5 inches 35 x 29 inches framed Provenance Private collection Austin, TX

Cusco, Peru San JosĂŠ con NiĂąo c. 1750 Oil on canvas 25.75 x 23.5 inches 35 x 29 inches framed Provenance Private collection Austin, TX

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 San Esteban 18th c.

Oil on copper 11.25 x 9.75 inches 14.75 x 12.25 inches framed Provenance Private collection, Dallas, TX

Mexico San Juan Bautista 18th c.

Oil on copper 8.25 x 5.87 inches 10.25 x 8 inches framed Provenance Private collection, Dallas, TX Exhibited Brownsville Historical Museum University of Texas Pan American, Edinburg, TX Via Antigua Border Heritage Museum Laredo, TX

Mexico Ecce Homo 18th c.

Oil on copper 11.75 x 8.25 inches 14 x 11.5 inches framed Provenance Private collection, Dallas, TX Exhibited Brownsville Historical Museum University of Texas Pan American, Edinburg, TX Via Antigua Border Heritage Museum, Laredo, TX

Mexico San Paulinus of Nola 18th c.

Oil on copper 8.25 x 6.25 inches 19.5 x 23.5 inches framed Provenance Private collection, Dallas, TX

Mexico Santa Lucia 18th c.

Oil on copper 8.25 x 6.25 inches 11.87 x 9.75 inches framed Provenance Private collection, Dallas, TX

Mexico Thomas Aquinas 18th c.

Oil on copper 9.5 x 7.75 inches 13 x 11.25 inches framed Provenance Private collection, Dallas, TX

Mexico Adoration of the Virgin with Apostles and Angels 18th c.

Oil on copper 22.25 x 18.37 inches 28.75 x 25 inches framed Provenance Private collection, Dallas, TX

Mexico Santiago Matamoros 19th c.

Oil on tin 13 x 9.5 inches 16.25 x 12.25 inches framed Provenance Private collection, Dallas, TX Exhibited Exposicion Jalisco Genio y Maestria, Antiguo Colegio de San Ildefonso, Mexico City, MX, February-May, 1995 (label verso) Museo de Arte Contemporaneo, Monterrey, MX, 1995 (label verso)

Mexico Assumption of the Virgin with Saint Benedict 18th c.

Oil on canvas 30.25 x 22.5 inches 33.25 x 25.5 inches framed Provenance Private collection, Dallas, TX

Mexico San Rafael 18th c.

Oil on copper 16.25 x 12.5 inches 27.37 x 19.75 inches framed Provenance Private collection, Dallas, TX

Mexico Portrait of a Noble Woman c. 1700 Oil on copper 11 x 7.5 inches 13.75 x 10.25 inches framed Provenance Private collection, Dallas, TX

Mexico Saint Helena Empress 18th c.

Oil on copper 11.5 x 7.75 inches 15.5 x 11.5 inches framed Provenance Private collection, Dallas, TX

Cusco, Peru The Annunciation c. 1725 Oil on canvas 66.5 x 47.75 inches 79 x 61 inches framed Provenance Private collection, Centerville, VA

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

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 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..

Peru The Coronation of the Virgin c. 1700 Oil on canvas ### x ## inches ## x ## inches framed The subject of the Coronation of the Virgin became popular in Italian art in the 13th century. The version seen here shows the Trinity in the form ot three Christs placing the crown on the Virgin Mary, proclaiming her the Queen of Heaven. She stands on the crescent moon as attending angels watch.

Peru El descanso en la huida a Egipto c. 1700 Oil on canvas 64.5 x 44.5 inches 70 x 50.5 inches framed Provenance ex private collection, California; ex collection of Corrine Garcia of Albuquerque, NM, 1970; by descent to private collection, Albuquerque, NM, 1997 This charming scene is based not on any incident in the Bible itself, but on a body of tales or legends that had grown up in the early Middle Ages around the Bible story of the Holy Family fleeing into Egypt for refuge on being warned that Herod the Great was seeking to kill the Christ Child. According to the legend, Joseph and Mary paused on the flight in a grove of trees; the Holy Child ordered the trees to bend down so that Joseph could take fruit from them, and then ordered a spring of water to gush forth from the roots so that his parents could quench their thirst.

Peru The Life of Santa Rosa de Lima c. 1650 Oil on canvas 16 x 12 inches each 18.5 x 14.5 inches framed Provenance Mary and Gordon Kichton, NYC by decent to Mary Moss in Greenville, Pennsylvania

Birth of the Saint

Castigation

Renunciation

Novit

Stigmatization

Asce

Saint Rose of Lima, T.O.S.D. (April 20, 1586 – August 24, 1617), was a Spanish colonist in Lima, Peru, who became known for both her life of severe asceticism and her care of the needy of the city through her own private efforts. A lay member of the Dominican Order, she was the first person born in the Americas to be canonized by the Catholic Church. She is the patron saint of Peru and Latin America, as well as gardeners, embroiderers, and the indigenous peoples of the Americas.

tiation

Visitation

Initiation

ension

Processional

Canonization

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

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 Hanging Lantern Silver 61.3 oz. troy early 20th c.

31.5 x 12 x 10.5 inches

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

Phillipines Saint Roch

c. 1800 Wood, polychro 16.5 x 8.75 x 6 in

Provenance Private Collecti

Saint Roch or 1348 – 1379) w and confessor commemorated He may also b English, and ha of St Rollox in G said to be a Roch’s Loch. H of many things plagues, falsely knee problems, is often depict wounded knee by a dog. Here by an angel bear and is flanked b a scroll.

ome nches

ion, Amarillo, TX

r Rocco lived (c. was a catholic saint whose death is d on 16 August. be called Rock in as the designation Glasgow, Scotland, corruption of St He is a patron Saint s, including dogs, y accused people, , and bachelors. He ted pointed to his and accompanied also accompanied ring holds a lantern by an angel holding

Flanders Corpus c. 1530 Carved oak 71.25 x 74 x 16 inches This striking depiction of the crucified Jesus was made in Flanders. The piece is exquisitely detailed. His hair is set in undulating curls, a beard covers his chin, and his eyes are gracefully closed. the piece is extraordinarily detailed, with the meticulous carving extending even to the twisted crown of thorns around his head and the nails in his hands and feet.

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 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.

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.

Mexico Hacienda Table Sabino wood 76 x 32 x 35 inches

Mexico Hacienda Table late 17th c.

Walnut 66 x 30 x 30 inches

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.

Mexico Trunk Leather, brass embellishments, wood ca. 1775 27 x 46.5 x 18.7 inches This trunk is typical of 18th century Mexican container furniture. It is constructed of wood set on a separate wooden base. It is entirely clad in leather, a material often used in the absence of sufficient metal. The trunk is heavily decorated overall in ornamental brass nails forming crowns, medallions, crosses, decorative S-curves, and the name of the presumed original owner.

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.

Pedro Antonio Fresquís (1749-1831) San José con Niño Wood, gesso and natural pigment c. 1800 33.5 x 11 x 6.5 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. He is typically crowned and bearded.

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 Fresquís (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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