8
Attributed to Jose de Paez (Mexico City, 1727 - circa 1790)
1/4
Beschreibung
Attributed to Jose de Paez (Mexico City, 1727 - circa 1790)
"Saint Joseph and Child"
Nun's shield.
Oil on copper. 11,1 x 8,2 cm.
Small devotional painting on copper featuring the image of Saint Joseph and the Child Jesus, attributed to José de Páez, brimming with tenderness, fine brushwork, and intricate details for meditation and personal devotion, appealing to any collector of this type of religious artwork.
This format, characteristic of private and female devotions, highlights the delicate miniature work, linked to the Baroque tradition in viceregal Mexico.
The context in which these miniatures were created is deeply linked to 18th-century viceregal religiosity, in a period when religious orders, especially women's orders, played a crucial role in devotional life. Nun's medallions were objects of great symbolic value.
They were a genre of devotional art that was very widespread during the 17th and 18th centuries in Spain and in the Novo-Hispanic world.
They were small painted or embroidered pictures with religious scenes, which the nuns wore on their chests when taking their vows.
In classic portraits of crowned nuns, in addition to flowers, candles and other ornaments, the relevance of these coats of arms can be seen.
As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:
"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."
This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.
They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.
It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance, these badges had.
On occasions, artists of the calibre of Luís Juárez, Miguel Cabrera or José de Páez, who as we think is the author of our work, made some of these badges.
Saint Joseph is depicted in a serene and protective attitude, wearing a tunic and mantle in ochre, brown, and toasted tones, with only the sleeves in green, as he holds and displays the Child on his lap, the "Great Hope." He is seated on an upholstered kneeling bench, gazing at His Son with kindness, while He, in turn, looks back enraptured. The Father holds in his hand the white lily, a traditional symbol of his purity and his role as husband of the Virgin Mary. Nearby, a small side table holds a modest still life of fruits. The background is golden/ochre, symbolizing and encapsulating the divinity of the moment. The flesh tones on their cheeks and an the small body are outstanding, as is the movement of the drapery, the profusion of subtle shades in this tiny portrait, and the great delicacy of the brushstrokes. The soft lighting concentrates its focus on the faces of the figures, emphasising their humanity and divinity with delicate modelling.
José de Páez was a painter who was active mainly between 1750 and 1780. He was renowned for his mastery of religious painting and here he shows his ability to work on a small scale without losing precision in the faces or gestures, which is evidence of his technical skill.
Amongst his preserved works, we highlight the "Medallion of a friar with the Nativity" from LACMA; the nuns shield "Inmaculate Concepcion" from the Museo Soumaya; and the ten paintings from the "Cycle of the Life of the Virgin" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico.
As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain."
Returning to our work, the choice of Saint Joseph as the central theme explains his growing popularity in the 18th century, when he was promoted as a model of family and spiritual virtues. Iconographically, he is, in fact, the most portrayed saint in the history of art.
However, in this case, the medallion not only functions as a representation of Saint Joseph, but also encapsulates the Baroque tradition of creating portable works that connected people to spirituality on an intimate level: a clear example of art as a means of spiritual connection.
Bibliographic reference:
- Katzew, Ilona. (n.d.). “Nun’s Badge with the Annunciation and Saints”. LACMA. https://collections.lacma.org/node/2115912
-Ramírez, Yana Arantxa. (2021). El proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México. “Intervención”, 2(24), 250–276. https://doi.org/10.30763/intervencion.256.v2n24.35.2021
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Attributed to Jose de Paez (Mexico City, 1727 - circa 1790)
"Saint Joseph and Child"
Nun's shield.
Oil on copper. 11,1 x 8,2 cm.
Small devotional painting on copper featuring the image of Saint Joseph and the Child Jesus, attributed to José de Páez, brimming with tenderness, fine brushwork, and intricate details for meditation and personal devotion, appealing to any collector of this type of religious artwork.
This format, characteristic of private and female devotions, highlights the delicate miniature work, linked to the Baroque tradition in viceregal Mexico.
The context in which these miniatures were created is deeply linked to 18th-century viceregal religiosity, in a period when religious orders, especially women's orders, played a crucial role in devotional life. Nun's medallions were objects of great symbolic value.
They were a genre of devotional art that was very widespread during the 17th and 18th centuries in Spain and in the Novo-Hispanic world.
They were small painted or embroidered pictures with religious scenes, which the nuns wore on their chests when taking their vows.
In classic portraits of crowned nuns, in addition to flowers, candles and other ornaments, the relevance of these coats of arms can be seen.
As Professor Ilona Katzew, Curator and Head of the Latin American Art Department at the LACMA in Los Angeles, notes with respect to these nun’s shields:
"This small-scale painting is a badge worn by nuns of the Order of the Immaculate Conception (also known as Conceptionists) in Mexico as part of their dress. Painted badges originated in Mexico in response to religious reforms introduced by the archbishop Francisco Manso y Zúñiga (ruled 1629-1635), who attempted to curtail the luxury and privilege of the convent lifestyle. He forbade nuns to wear shields made of gold, precious stones, and enamel. The nuns circumvented this rule by commissioning shields painted on copper or parchment and set into frames made of tortoiseshell. Many of the badges were painted by the best artists of the day."
This genre of devotional art was widespread during the 17th and 18th centuries in Spain and the New Hispanic world.
They tended to be small pictures painted or embroidered with religious scenes, which nuns wore on their chests as they took their vows.
It is in the classic portraits of crowned nuns, also with flowers, veils and other ornaments, where we can see the relevance, these badges had.
On occasions, artists of the calibre of Luís Juárez, Miguel Cabrera or José de Páez, who as we think is the author of our work, made some of these badges.
Saint Joseph is depicted in a serene and protective attitude, wearing a tunic and mantle in ochre, brown, and toasted tones, with only the sleeves in green, as he holds and displays the Child on his lap, the "Great Hope." He is seated on an upholstered kneeling bench, gazing at His Son with kindness, while He, in turn, looks back enraptured. The Father holds in his hand the white lily, a traditional symbol of his purity and his role as husband of the Virgin Mary. Nearby, a small side table holds a modest still life of fruits. The background is golden/ochre, symbolizing and encapsulating the divinity of the moment. The flesh tones on their cheeks and an the small body are outstanding, as is the movement of the drapery, the profusion of subtle shades in this tiny portrait, and the great delicacy of the brushstrokes. The soft lighting concentrates its focus on the faces of the figures, emphasising their humanity and divinity with delicate modelling.
José de Páez was a painter who was active mainly between 1750 and 1780. He was renowned for his mastery of religious painting and here he shows his ability to work on a small scale without losing precision in the faces or gestures, which is evidence of his technical skill.
Amongst his preserved works, we highlight the "Medallion of a friar with the Nativity" from LACMA; the nuns shield "Inmaculate Concepcion" from the Museo Soumaya; and the ten paintings from the "Cycle of the Life of the Virgin" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico.
As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain."
Returning to our work, the choice of Saint Joseph as the central theme explains his growing popularity in the 18th century, when he was promoted as a model of family and spiritual virtues. Iconographically, he is, in fact, the most portrayed saint in the history of art.
However, in this case, the medallion not only functions as a representation of Saint Joseph, but also encapsulates the Baroque tradition of creating portable works that connected people to spirituality on an intimate level: a clear example of art as a means of spiritual connection.
Bibliographic reference:
- Katzew, Ilona. (n.d.). “Nun’s Badge with the Annunciation and Saints”. LACMA. https://collections.lacma.org/node/2115912
-Ramírez, Yana Arantxa. (2021). El proceso pictórico de José de Páez: Ciclo de la vida de la Virgen, santuario de Guadalupe, San Felipe, Chihuahua, México. “Intervención”, 2(24), 250–276. https://doi.org/10.30763/intervencion.256.v2n24.35.2021
Latin America, cultures in alchemy
Auktionsdatum
Lose: 54
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Wichtige Informationen
We remind our customers that, as indicated in our conditions of sale, for works over 100 years old, an export license from the Spanish Ministry of Culture is required.
This procedure is carried out by us free of charge for our clients.
The Spanish administration delivers it free of charge for EU members, but applies fees for non-EU buyers. Please contact us for further information and details.
AGB
CONDITIONS OF THE AUCTION:
I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.
II. WRITTEN BIDS. "LST" will accept written bids, which will be formalized in the form provided by the room until the day before the auction. In such auctions, the room will bid in name of the client until the maximum stated in the offer and always at the lowest possible price. If there are two or more bids for the same amount, the one placed first will have the priority. Written bids received in advance, will have priority on the day of the auction.
III. TELEPHONE BIDS. "LST" will allow telephone bids, if interested people contact "LST" days before the auction providing personal data, ID card and the phone number which will be used by the staff of "LST" to call at the time of the auction. The buyer, within all the legal rights is making an offer for the asking price, when applies for telephone bid. "LST" will not take responsibility for any technical defects beyond its control, which may prevent to contact successfully the bidder during the auction.
IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.
V. SALE OF LOTS. The lots are awarded to the highest bidder. Once the auctioneer blows the hammer, the buyer becomes responsible of the lot purchased, exempting "LST" of liability to for any damage and / or accidents that may occur. No refunds of lots.
VI. STARTING PRICE. The amount shown in the catalogue as the starting price for each lot will be, as a rule, the minimum selling price, except for exceptional cases where a reservation may be agreed upon with the seller or it set discretionary by the room.
VII. SCALE OF BIDS. The bids are set according to the following scale:
From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.
IX. SALE PRICES. The successful bidder of one or more lots must pay "LST" the final sale price achieves at auction, plus the 24,5 % plus 21% VAT on the commission, at total 29,64 % on Hammer Price.
X. CATALOG DATA. The catalogue data are obtained in order to careful research and advice, however, any responsibility is afforded about its accuracy. The lots will be auctioned in the state in which they are, not accepting any claims in restorations, breakage, damage, imperfections and, even description or numbering mistakes in the catalogue, in case of it, being the burden of the buyers to make sure before the auction that the description matches with their personal opinion about respective lot. The exhibition of the lots is intended to allow a perfect review and study of them.
XI. PAYMENT AND REMOVAL OF LOTS. Payment and removal of the lots will be held no later than five days following the auction. After this period expire without having the buyer removed the lot or lots purchases, it will accrue an expense of custody of 6 euros per day on each lot.
15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.
XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.
XIV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.
XV. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.
XVI. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.
Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
