Art of Devotion: Historic Art of the Americas

The 23rd Annual

Art of Devotion Historic Art of the Americas December 4, 2015 - March 11, 2016 Opening reception – Friday, December 4, 5-7pm

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 School Our Lady of Cocharcas Under the Baldachin c. 1750 Oil on canvas 68 x 50 inches 79 x 61 inches framed Provenance Private Collection, Albuquerque, NM, 1970 By descent from the above to Private Collection, Albuquerque, NM, 1997 This painting features a representation of a figure copied after the Virgin of Copacabana for the Peruvian town of Cocharcas. The Virgin of Cocharcas was revered by the local community for performing miracles and also became an important attraction for pilgrims. The work, painted by an unknown artist, was likely created to commemorate the dedication of a new church to house the Virgin of Cocharcas. In this case, the representation of Virgin and Child might record the procession of the statue through the town on that occasion. Surrounding the central, elevated pair in the foreground and background are scenes depicting pilgrims as well as events revealing the statue’s miraculous nature.

Various signs in the painting reference the exalted position of the Virgin and pay homage to her. Above the Virgin, angels bear the crown indicative of her roles as Queen of Heaven. This association with royalty is further emphasized by the baldachin, or canopy, under which the pair stands. The Virgin herself wears a wide, bell-shaped dress heavily decorated with floral motifs and gems that is typical of representations from colonial Spain. It is believed that this mountainous form alludes to the native Andean deity, Pachamama, the earth mother, with whom the Virgin was equated.

Cusco School La Virgen del Rosario c. 1725 Oil on canvas 73.25 x 49.5 inches 81.75 x 58 inches framed 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 scarlet robes, holding in one hand the infant Jesus who bearing the globus cruciger, and holding a red-beaded rosary in her right hand. She is flanked by saints Benedict and Frances 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. Above her is the Holy Spirit and God the Father.

Cusco School La Familia Sagrada c. 1725 Oil on canvas 103 x 64 inches In this painting of the Holy Family, angels flank the Heavenly Father and Holy Spirit, looking down on Mary, Joseph and Christ, the Son. Saint Joseph holds a stem of lilies, symbolizing the purity of the Immaculate Conception. Veneration of the Holy Family dates back to 17th century by Saint Franรงois de Laval (canonized in 2014 by Pope Francis I), the first bishop of New France, who founded the Confraternity of the Holy Family in 1665.

Peru La Virgen Immaculada Oil on canvas 49 x 37 inches 56.5 x 45 inches framed Provenance Private Collection, Aspen, CO When Pope Sixtus IV instituted the Feast of the Immaculate Conception in the late 15th century, artists of the time faced the problem of how to depict an abstract idea such as the Immaculate Conception. The problem was not fully solved for another 150 years. The popularity of this particular representation of The Immaculate Conception spread across the rest of Europe, and thence to the Americas. It has since remained the best known artistic depiction of the idea: in a heavenly realm, moments after her creation, the spirit of Mary (in the form of a young woman) looks up in awe at (or bows her head to) God. The moon is under her feet and a halo of twelve stars surround her head, possibly a reference to “a woman clothed with the sun� from Revelation 12:1-2.

Additional imagery may include clouds, a golden light, and cherubs. In some paintings the cherubim are holding lilies and roses, flowers often associated with Mary. In addition, we see here a date palm and cypress trees.

Bolivia Archangel Michael c. 1750 Oil on canvas 21 x 15 inches 31.5 x 24 inches framed As captain of the heavenly armies, Michael is charged with vanquishing the devil, the beast with seven heads, and leading him down to the abyss in chains, but his duties also include weighing the souls of the dead, punishing sinners, and glorifying the just. It is little wonder that the cult of Saint Michael, honored in Europe as defender of a militant and triumphant Catholic Church in the war against idolatry, would be transplanted to the New World. The worship of Saint Michael became widespread throughout the colonial Americas.

Puebla, Mexico San Antonio de Padua c. 1775 Oil on canvas 33 x 22 inches 39.5 x28.5 inches framed Saint Anthony of Padua (born Fernando Martins de Bulhþes; 1195 – 1231), also known as Anthony of Lisbon, was a Portuguese Catholic priest and friar of the Franciscan Order.

He was born and raised by a wealthy family in Lisbon and died in Padua, Italy. Noted by his contemporaries for his forceful preaching and expert knowledge of scripture, he was the second-most quickly canonized saint after Peter of Verona. He was proclaimed a Doctor of the Church on 16 January 1946. He is the patron saint of animals, harvest, horses, mariners, travellers, lost things and people, and the is Patrons Saint of Brazil. He is typically depicted with a book, a lily, and the Infant Jesus, as seen here, and often with bread, fish, and a flaming heart, as well.

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 Private Collection, NYC by decent to Private Collection, Greenville, Pennsylvania

Birth of the Saint

Castigation

Renunciation

Noviti

Stigmatization

Ascen

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.

iation

Visitation

Initiation

nsion

Processional

Canonization

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 Paulo, Brazil This painting depicts Our Lady of Mount Carmel, the title given to the 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. She holds the infant Jesus in her left hand, and the Brown Scapular in her right hand.

Mary is said to have given the Brown Scapular to the early Carmelite Saint Simon Stock. It is associated with promises of Mary’s special aid for souls in Purgatory, as seen here, and for the salvation of the devoted wearer.

Cusco School Santa Joanna c. 1775 Oil on canvas 61 x 40 inches Joanna is mentioned in the gospels as a woman who was healed by Jesus and later supported him and his disciples in their travels, one of the women recorded in the Gospel of Luke as accompanying Jesus and the twelve. She was the wife of Chuza, who managed the household of Herod Antipas, the king of Galilee. Her name means “Yahweh has been gracious”, a variation of the name “Anna” which means grace or favor. She was was one of the three women who discovered the empty tomb of Jesus on the first Easter morning.

Cusco School San Sebastian Oil on canvas c. 1625 70.5 x 42 inches Provenance Private Collection, Cali, Colombia, 1980 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.

Mexico San Ysidro Late 17th Century Oil on canvas 64.75 x 43.25 inches Provenance Private Collection, Shelbina, MO Private Collection, Shoemaker, MO, 2002 San Ysidro is often portrayed as a peasant holding a sickle and a sheaf of corn. He might also be shown with a sickle and staff; as an angel plows for him; or with an angel and white oxen near him. In Spanish art his emblems are a spade or a plough.

He is widely venerated as the patron saint of farmers, peasants and day laborers. The cities of Madrid, Leon, Saragossa, and Seville honour him as their patron. The US National Catholic Rural Life Conference claims him as its patron. San Ysidro, California and San Ysidro, New Mexico were named after him. His feast day is celebrated on 15 May. San Ysidro the Farmer is also honored on his day in Aglipayan Church (Philippine Independent Church). The feast of San Ysidro is widely celebrated also in San Isidro, Nueva Ecija.

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.

Portugal / Brazil Beaked Ewer c. 1700 Hand wrought repoussĂŠ and engraved silver 8 x 3 x 7.75 inches The beaked ewer, or jarros de pico in Spanish, was used to serve water at the tables of wealthy and important diners.

Bolivia Set of Four Candlesticks c. 1700 Silver, 499.92 oz. troy 22.5 x 9.25 x 9.25 inches The abundance of silver in Colonial Bolivia led to a plethora of silver objects for ecclesiastical and domestic use. This quartet of candlesticks is rendered with an elegant design, and with excellent craftsmanship.

Potosí, Bolivia Trumeau Frame c. 1835 Silver repousse molded and chased with wooden frame 37 x 22 x 4.75 inches Provenance Private Collection, Mclean VA Art Market, Washington DC The original function of the exquisite frame is unknown. It most likely initially framed a mirror or a painting, perhaps a portrait or a religious subject. The frame features rocaille ornamentation throughout, and an ornate arched trough flanked by two columns which have a star at the base. It features ornate floral decoration overall, and a scalloped crown with peacock feathers.

The frame bears several dozen hallmarks that read “Platero J. Guzman” and “Potosí.”

Guzman was a well known silversmith active in Potosí in the second quarter of the 19th century. Several excellent works of his survive today.

Bolivia Casket c. 1880 Silver repoussé, velvet 9.75 x 12.25 x 7.75 inches This fine, handmade Republican-era domed “jewel casket” features repoussé sterling silver. The entire surface is densely covered with an ornamental design of vegetal and floral elements. The interior is lined with royal blue velvet.

Bolivia Cafetera 19th Century Silver, 45.86 oz. troy 12 x 8 x 5.5 inches Provenance Private Collection, Amarillo, TX 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 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.

Bolivia Holy Water Basin, 1773 Silver, 57.329 oz. troy 12 x 9.5 x 8.25 inches This fine silver vessel was used for holding holy water for ecclesiasctical rituals and ceremonies. Its portability meant that is was carried by a cleric for use outside the confines of a church, which usually has a stationary font.

Peru Milk Can, c. 1800 Silver, 188.12 oz. troy 19 x 13.5 x 11 inches This beautifully crafted silver milk jug features a crest medallion and bovine finial with delicate sgraffito vegetal decoration at the bottom.

Colombia Processional Candlesticks 18th C. Silver, 272.4 oz. troy 82.5 x 9 x 9 inches Provenance Private Collection, CT, c.1970 Private Collection, Colombia The Christian rituals of the Spanish Colonial world involve various sorts of processions, from those enacted by priests (for example, when those celebrating Mass go from the sacristy to the altar), to much bigger and more complex rituals.

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.

Circle of Francisco de Zurburán Archangel Raziel c. 1650 Oil on canvas 71.75 x 41.75 inches 80.75 x 50.75 inches framed 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.

Studio of Peter Paul Rubens (1577-1640) Christ Carrying the Cross c. 1650 Oil on canvas 75 x 100 inches 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.

Filippo Gagliardi (active Rome 1637, d. 1659) Capriccio with The Colosseum, The Arch of Constantine, and The Tower of Maecenas c. 1640 Oil on canvas 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.

Karel Dujardin (1622-1678) Portrait of a Gentleman 1672 Oil on canvas 44 x 32 inches 53 x 45 inches framed Signed lower left “K du Jardin, 1672�

Provenance Private Collection, London Private Collection, London, to 1956, Evans Collection, London, 1938 Publications: Kilian, Jennifer M. Karel Dujardin (1626-1678): Catalogue Raisonne, 2005, John Benjamins Publishing Company.

Karel Dujardin (1622- 1678) was a Dutch Golden Age painter and etcher born in Amsterdam. Although he did a few portraits and a few history paintings of religious subjects, most of his work is small Italianate landscape scenes with animals and peasants, and other genre scenes. Dujardin spent two extended periods, at the beginning and end of his career, in Italy, and most of his paintings and landscape etchings have an Italian or Italianate setting.

Gaspare Landi (1756-1830) The Departure of Hector from Andromache Autograph replica of the painting in Museo Civico Piacenza 1794 Oil on canvas 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.

Francesco Gessi (1588 -1649) Penitent Magdalene 1635-1640 Oil on canvas 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.

Circle of Jeronimo Jacinto de Espinosa (1600-1667) Bernard of Clairvaux Receiving the Milk 17th Century Oil on canvas 48 x 38 inches 50 x 40.25 inches framed

The subject of Bernard of Clairvaux Receiving the Milk (Lactatio Bernardi in Latin, or simply Lactatio) is based on a miracle or vision concerning Saint Bernard of Clairvaux where the Virgin sprinkled milk on his lips. In some versions he is awake, praying before an image of the Madonna, in others asleep. He is usually depicted as kneeling before a Madonna Lactans, and as Jesus takes a break from feeding, the Virgin squeezes her breast and he is hit with a squirt of milk, often shown travelling an impressive distance.

The milk was variously said to have given him wisdom, shown that the Virgin was his mother (and that of mankind generally), or cured an eye infection.

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 Santiago Matamoros

c. 1800 Wood, polychrome, silver 24 x 12 x 21 inches

Provenance Private Collection, Amarillo, TX Santiago Matamoros (Saint James the Moor-slayer) is the name given to this representation of the apostle Saint James the Elder in his miraculous appearance at the Battle of Clavijo in 844. There was a legend that James, a disciple of Jesus, had gone to Spain, founded the Church there, and provided protection for the Christians. According to the legend, Saint James appeared as a warrior on his white horse with a white banner to help Christian armies of King Ramiro I of Asturias in battle against the Moors.

This exquisite, late Colonial piece features finely carved, detailed features on the Saint and the horse, with great attention to detail, such as the leather stirrups and a silver sword.

Phillipines Saint Roch

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

Provenance Private Collectio

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

ome nches

on, Amarillo, TX

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

Guatemala Archangel St. Michael c. 1675 Wood 39.75 x 21 x 15 inches 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. Worship of the saintwas widespread throughout the Americas.

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.

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.

Ecuador Immaculada c. 1800 Wood 31.5 x 20 x 8.5 inches This late colonial sculpture of the Virgen Immaculada features finely carved drapery and brass crown and corona set against the deep, red color of the wood.

Mexico

San Jose con Ni単o

18th C. Wood, polychrome, go 41 x 18 x 10 inches

Early depictions of Jos as an elderly man of r to the story of Christ.

Mexican art had reconc youthful, physically ro the Holy Family, as se carved sculpture.

o

old leaf

seph in art present him relative unimportance . By the 18th century, ceptualized him as the obust, diligent head of een here in this finely

Mexico

Santa Rosa de Lim

c. 1700 Wood, polychrome, go 39 x 16 x 13 inches

This elegantly carved Santa Rosa de Lima, of Peru, features fin expressive features, floral cape and he crown of roses. She ho Jesus who bears the glo the cross-bearing orb Christ’s dominion ove

ma

old leaf

d sculpture of patron saint nely carved, a gold-leaf er often-seen old the infant obus cruciger, symbolizing er the world.

Colombia

St. John the Bap with the Lamb o c. 1725 Wood, polychrome 38 x 13 x 13 inches

This painted sculpt Baptist in reference Gospel of John, in seeing Jesus, “Behol This title of Jesus re perfect sacrificial off

ptist of God

ture features John the to the verse from the which he says, upon ld the Lamb of God.� efers to his role as the ffering.

Spanish Colonial Vestments The power and wealth of the Spanish monarchy and Catholic Church was embodied in the resplendent vestments and furnishing used by the churches and monasteries of colonial Latin America. Some were excess vestments sent from Spanish churches, while others were special commissions financed by the colonial bishoprics or paid for by alms and tithes from wealthy parishoners.The earliest set of vestments to survive in New Spain was commissioned between 1623 and 1632 for the cathedral of Mexico City from the master embroiderer Marcus Maestre, considered the most outstanding in his trade in seventeenth century Seville.

Vestments were often constructed from textiles that were originally used for other purposes, such as women’s dresses, which were given as gifts to the Church. Some of those seen here bear clear evidence of “Namban,� or Japanese and Chinese influence on design in Colonial Latin America.

Mexico Chasuble c. 1725-1825 Silk, satin, metallic thread 41.5 x 28 inches Provenance Private Collection, Guadalajara, MX Private Collection, San Marcos, CA, 1998-2015 The chasuble is the outermost liturgical vestment worn by clergy for the celebration of the Eucharist in Roman Catholic Church. It was simply a roughly oval piece of cloth, with a round hole in the middle through which to pass the head, that fell below the knees on all sides. By the 17th century it had acquired its “fiddleback� shape, allowing the priest free movement of his arms. Complex decoration was often used on chasubles of scapular form, especially the back, incorporating the image of the Christian cross or of a saint; and rich materials such as silk, cloth of gold or brocade were employed, especially in chasubles reserved for major celebrations.

Mexico Dalmatic c. 1725-1825 Silk, satin 39 x 52

Provenance Private Collection, Guadalajara, MX Private Collection, San Marcos, CA, 1998

The dalmatic is a long wide-sleeved tun in the Roman Catholic Church. It is typic priest at Mass or other services. It was de to assist the priest without a cumbersome only twice in the liturgical year, on Gaud

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nic, which serves as a liturgical vestment cally worn by a deacon while assisting a esigned with sleeves to enable the deacon e, flowing garment. The rose color is worn dete Sunday and Latare Sunday.

Mexico Dalmatic

c. 1725-1825.

Silk, satin, metallic and silk thread 53 x 43.5 inches

Provenance Private Collection, Guadalajara, MX Private Collection, San Marcos, CA, 1998-2

This dalmatic features highly ornate embro a dual imagery: On one hand, red symboli used on Palm Sunday, Good Friday, any ot the votive Mass of the Precious Blood, the d (except St. John), and the feasts of other ma

On the other hand, red also signifies the b red vestments are worn on Pentecost when and tongues of fire rested on their heads Confirmation; and for the votive Masses of

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oidery and richly detailed borders. Red has izes the shedding of blood and is therefore ther commemoration of the Lord’s passion, days marking the martyrdom of the apostles artyrs who offered their lives for the faith.

burning fire of God’s love. For this reason, n the Holy Spirit descended on the apostles s; for the celebration of the Sacrament of f the Holy Spirit.

Mexico Cope c. 1725-1825 Silk, velvet, metallic thread, and gold ribbon 41 x 69.5 inches Provenance Private Collection, Guadalajara, MX Private Collection, San Marcos, CA, 1998-2015 The cope is a circular cape of varying length that is worn by priests, bishops, and sometimes deacons.

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.

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.

Peru Armario c. 1825 Wood with brass inlay 106.5 x 51 x 24 inches This ornate armario is decorated with brass inlay throughout the front, in the form of stars, medallions, wreath, crosses, ribbons, and other forms. It features an elaborate rocaille crown and base, and stands on curvilinear feet. The interior shelves and drawer also feature elaborate brass inlay and drawer pulls. The insides of the doors and the back are covered in marbled paper.

Mexico Colonial Arm Chair in the Chippendale style c. 1775-1810 Wood 40 x 29 x 24 inches 18 inch seat height This Mexican Chippendale chair is said to match a suite in Chapultepec Palace. The carving is predominantly rococo in the use of asymmetrical shell, spray, and scroll forms. A concha is used on the crest and apron, while scallops adorn the knees. The legs are distinctively animal shapes, with pointed hocks and stylized paw feet.

Spain Torchieres c. 1750

Hand-forged iron 69.75 x 20 x 20 inches These fine iron torchieres from Spain feature elaborate ornamentation throughout.

Mexico Lyre Table with Fiadores Walnut 31 x 45.5 x 27.5 inches This fine lyre table is typical of Mexico baroque furniture. It features wooden fiadores, serpentine braces, scrolled feet, and splayed trestles.

Guatemala Side Table c. 1840 Wood 27 x 46.5 x 18.75 inches This late colonial table from Guatemala features elaborate flora, fauna, and chisel decoration. It features four drawers with original pulls.

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.

José Aragón (1796-1850) Cristo c. 1825 Wood, gesso and natural pigment 41 x 30.75 x 5.5 inches Provenance Private Collection, Hialeah, FL This exquisite cristo is typical of Aragón’s carved works. For example, the elongated head is somewhat disproportionate to the body, with a long oval face with downward gazing eyes, a strong pointed nose with separate nostrils. The lean, narrow torso flows down to long tapered legs. The hands feature well-carved, delicate fingers.

The figure presents fine anatomical detail, and other detailed elements such as the loin cloth. The artist follows the medieval and baroque practice of painting Christ’s body in blue-gray tones to indicate impending death.

Pedro Antonio Fresquís (1749-1831) San Rafael 1815 Wood, gesso and polychrome 15.75 x 7 x 8 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.

José Rafael Aragón (1795-1862) Our Lady of Mount Carmel ca. 1840 Wood, gesso and natural pigment 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.

José Rafael Aragón (1795-1862) San José con Niño Wood, gesso and natural pigment ca. 1840 15 x 5.25 x 1.15 inches This exquisite carving features a beardless San José, who holds the infant Jesus in his left hand and bears a staff with a lily in his right hand, which signifies both his purity and his union with the Virgin Mary.

Santo Niño Santero (active 1830-1860) Cristo ca. 1840 Wood, gesso, and natural pigments 24 x 14 x 6.5 inches This carving of the Cristo Crucificado is “Nuestro Señor de Esquipulas”, because the branches that are offshoots from the main cross represent the “living cross”. The legend of Esquipulas is based on a revered Guatemalan image of the Black Christ, to which many miracles were attributed. It can be conjectured that sometime in the 1700s the legend was brought to the Santuario de Chimayo, as this historical church is also based on the healing powers of Christ. The original chapel in the village was called Our Lord of Esquipulas before it was replaced by the present building, which has become a revered destination for travelers.

The carved Cristo is probably from cottonwood covered with a layer of gesso and painted with natural pigments. It has all the earmarks of the exceptional work by this Santero.

The fingers are delicately carved and still intact, as are the wounds on the knees. Classic to the piece is the “pouf” on the side of the hip, the santero’s idea of the excess cloth represented in early paintings. The original crown of thorns made from hide and wood is still intact. This rare, exquisite piece is in excellent condition for its age.

Santo Niño Santero (active 1830-1860) San Francisco Wood, gesso and natural pigment ca. 1840 24 x 10 x 8 inches Francis is one of the most venerated saints in Christendom.

He is also one of the most widely depicted saints in Christian art. This fine bulto by the Santo Niño Santero depicts Francis with the traditional Franciscan hair cut.

He holds a skull in his left hand. He is said to have carried it often as a reminder of human mortality. In his right hand he carries a cross as reminder of the Jesus’ crucifixion.

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