First time at auction...

Latin America, Spanish Colonial period, Ecuador, Quito, ca. 18th century CE. A gorgeous wooden sculpture of Saint Joseph from a Nativity scene where he was kneeling at the manger of the Christ Child, depicted with a lead mask and glass eyes; typical characteristics of 18th-century Quito sculpture. Exemplifying the Spanish Baroque, Joseph is dressed sumptuously in a long green robe with gold-colored, estofado motifs, and a billowing cloak as he poses dramatically, arms extended in awe and one leg slightly propped up as though he has fallen to his knees. His sensitively rendered face features an expression of amazement with half-open glass eyes and gently parted lips. This example may have been based off of a similar sculpture of Saint Joseph sometimes attributed to Manuel Chili, also known as Caspicara, now found in the Metropolitan Museum of Art under accession number 64.164.208a, b. Size: 14" W x 18.7" H (35.6 cm x 47.5 cm)

Though the tradition of polychrome wood sculpture originated in Europe, some of the finest practitioners were in Quito (the seat of the Audiencia de Quito, in the viceroyalty of Peru), which became internationally known for its exquisitely-carved wooden sculptures that were exported to other areas of colonial Latin America and to Europe. Unfortunately, only a few sculptors have been documented - most notably Bernardo Legarda (c. 1700?1773) and Manuel Chili (more widely known as Caspicara, c. 1723?1796). The profession was dominated by Indigenous and mestizo artist within the framework of family-run workshops and involved the work of many craftsmen, such as carvers, polychromers, and silversmiths.

By the 1700s, Quito sculpture had developed a highly distinctive and largely self-referential style. Artists produced hundreds of images of different saints and advocations. The works are typically distinguished by the figures' smooth and youthful features, rosy cheeks, lifelike eyes made of glass, pursed red lips, and plump, shiny flesh (encarnaciones). Decorated with exuberant estofados (pictorial emulations of fine fabrics), most works served a predominantly private devotional purpose in homes and convents.

The most identifiable feature of Quito style was the employment of lead masks (mascarillas de plomo) for the face, as seen in this example - a method that enabled artists to employ the same mold for various figures. This technique was likely adopted in response to the high demand for images, which by this time were produced in quasi-industrial quantities.

Provenance: private Rancho Mirage, California, USA collection, by inheritance in 2020; ex-Dr. TDR Berreth, California, USA, acquired before 1982

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#179056

Was previously a lamp, but lamp apparatus has been removed. Sculpture is permanently affixed to custom stand. Some small areas of professional repair with light restoration and break lines visible. Chipping with minor losses near base and some peeling to pigment. Nicks and abrasions as shown. Nice preservation of detail and light patina throughout.