Latin America, Mexico, Spanish Colonial Period, ca. 19th century CE. This is a finely painted pair of Spanish Colonial style retablos on heavy gauge tin depicting religious scenes of saints and Christ. The larger is of the Virgin Mary and Christ Child, a composition that is often referred to as N.S. Refugio de Pecadores (Our Lady, Refuge of Sinners); the Virgin wears a golden crown and supports a crowned Christ Child whose nude body is covered by a transparent robe. She wears a dark blue cape that is initialed with her ciphers. Christ rests his right hand on her right arm and grips her right thumb with his left hand. The touching scene is framed by a wreath of red roses as they float upon heavenly clouds. The other retablo depicts St. Joseph in a green robe and a yellow cloak as he holds the Christ Child, who is draped in red. The Child leans on Joseph's shoulder, and both their heads are surrounded by golden beams of light or a hallo. Size (Mary retablo): 14" L x 10" W (35.6 cm x 25.4 cm); (Saint Joseph): 9.35" L x 6.5" W (23.7 cm x 16.5 cm)

The cult of Joseph originated during the time of Luther when the Catholic Church was seeking out new heroes to meet the needs of the Counter Reformation. Prior to this time, Joseph was somewhat ignored. The Carmelite Order, under the direction of St. Theresa, rejuvenated the image of St. Joseph. Instead of being portrayed as an elderly man who watched over Mary, he grew to be depicted as a virile man in the prime of his life, full of youth and strength, yet portrayed as a gentle man of tenderness as we see in this example.

In 1719, a Jesuit missionary brought a version of a painting originally created for an altar formerly at Frascati, Italy, in the style of Guido or Salvator Rosa, to the city of Zacatecas in Mexico. The painting inspired the locals to adopt N.S., Refugio de Pecadores as their patron, and the composition of this retablo was modeled upon that painting's composition. Renditions of the original Italian painting were among the most favored in retablo art. Icons like these were placed above household altars to venerate the saints. The translation of the word retablo literally means "behind the altar."

Provenance: ex-Dr. David Harner collection, Arkansas, USA, 1950s-1960s

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#161365

The Joseph retablo has losses and flaking to painted pigments and details of the child and Joseph's body are faint and indiscernible. Both retablos have surface abrasions, chipping, and fading to pigments. Finer details are not discernable. Joseph's face is clear enough to discern the saint's expression, but Christ is faint. Stable fissure along lover edge of Joseph retablo, and corners are pierced for suspension, with a cord through the top. Tearing and folding to Virgin Mary's retablo, and losses to pigments. Surface abrasions and fading to pigments. Finer details are not discernable. Corners are pierced for suspension and has a cord through the top. Nice patina on both.