Latin America, Mexico, 19th century. A beautiful retablo of La Madre Santisima de la Luz (Holy Mother of Light) hand-painted on heavy gauge tin and set in a wooden frame. Mary wears a blue mantle with golden trim over her white gown that is adorned by a bejeweled collar and belt, while carrying the Baby Jesus on her left arm. Both Mother and Child are graced with crowns. Meanwhile, with her right hand, Mary lifts a sinful soul from Satan (depicted in the form of a red-mouthed beast). On the other side, we see a kneeling angel who presents a basket filled with flaming hearts to the Child, symbolizing the idea that he inflamed the hearts with his love. Following this, the Virgin stated that she wished to be called Maria Madre Santissima del Lume (Mary Most Holy Mother of Light), repeating her request three times, and asking that this not be forgotten. Size of retablo: 13.25" L x 9.625" W (33.7 cm x 24.4 cm) Size of frame: 14.25" L x 10.75" W (36.2 cm x 27.3 cm)

This religious composition is modeled on the image in the Cathedral of Leon in Guanajuato. A famous legend of its origin tells of it being painted by an artist under the direction of a nun who resided in Palermo, Italy in the 1700s. Giovanni Antonio Genovese, a Jesuit missionary, had asked the nun to assist him in creating a worthy image of the Virgin that would "move the hearts of men." After many prayers and visions, the nun purportedly instructed an artist to paint an image that the Virgin herself posed for. For the remainder of his missionary life, Father Genovese would carry this painting and convert so many people throughout Sicily. According to scholar Gloria Fraser Giffords, "La Madre Santisima de la Luz is not only revered as the patroness of Leon and reliever of all ills, but is especially remembered for her role in the protection of the city against plagues, storms, and invasions during the various wars and revolutions. In modern times she has become the patron of electricians." (Gloria Fraser Giffords, "Mexican Folk Retablos," Albuquerque: University of New Mexico Press, 1974, p. 56.)

Provenance: ex-San Quentin, California, USA collection

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#163202

Normal wear with areas of indentations, scuffs, and stains commensurate with age. Frame dates later than the retablo but complements it nicely and is wired in order to display.