Lot 362
Latin America, Mexico, early 20th century CE. An antique Mexican ex-voto depicting a man dressed in white kneeling in prayer before the Virgin Mary, the crucified Cristo Negro, and a Patriarchal cross with two bars. In retablo art, the Virgin Guadalupe is represented as a praying Madonna with a tilted head and gently curving body, with hands pressed together in a prayerful gesture and lowered eyes. She is surrounded by a mandorla comprised of golden rays and stands upon a crescent moon that is supported by a cherub. This composition was adopted from medieval illustrations of the Apocalyptic Woman and may be traced back to the 10th and 11th centuries. Her garments traditionally include a blue mantle with gold stars and trim and a red robe enriched with golden embroidery. In addition, the cherub with Byzantine like wings who appears beneath her is also a constant in renditions of the Virgin Guadalupe. The Patriarchal Cross is a symbol associated sometimes with the papacy but more frequently with the Eastern Orthodox Church. The worship of Cristo Negro has its origins in a town called Esquipulas, Guatemala in 1594 CE when an image was creatd by the Portuguese sculptor Quirio Cantano upon the request of the Guatemalan bishop. The darker complexion chosen by the early clergy was intentional, as it was thought that the indigenous population would then identify with the sufferings and sacrifice of Christ. As members of the lowest class of their society in their own land, they embraced the Cristo Negro and identified with his realistic agony and martyrdom. The dark brown Christ figures naturally darkened further to a blacker hue due to exposure to smoke and incense. And so, although the initial brown was intended to represent Indian skin color, many Christs created by the native population were created in the color black. In time miracles were ascribed to the so-called Black Christ or Cristo Negro. This example is characteristically depicted in the crucified pose, painted black, with head cocked toward the right, blue mantle tied around waist and hips, and perforations indicative of stigmata through extended hands and feet and one laceration at chest.
The narrative of this ex-voto is somewhat obscured. One can make out the date of September 15th; however, the year is blurred beyond the "19." Based upon the penmanship and painting styles, we believe it dates to the early 20th century. Despite the unclear text, the rich iconographic program of this piece, more than makes up for it! Size: 7-1/4" H x 5" W (18.4 cm x 12.7 cm).
Ex-votos, are devotional paintings that bear a semblance to retablos, only they also include a written narrative offering thanks to a saint for coming to a familys aid. The term is short for the Latin phrase ex voto suscepto meaning from the vow made. Oftentimes, gratitude is expressed for curing an ill child, expediting the recovery of an elderly family member, the safe return of a soldier, or the rescue of a victim from some horrific accident or crime. The petitioner dedicates a small painting with a brief written testimonial to a beloved patron saint for granting a miracle. These hand-written stories together with their expressive visual scenes can be quite touching and dramatic.
Provenance: Ex-Historia Antiques, James Caswell, Santa Monica, CA
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#109995
- Condition: Some wear, particularly to one side of the piece, obscuring the words.
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