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Colonial School. Quito. Ecuador. Attributable to Manuel de Chili "Caspicara" (Qu
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Description
Colonial School. Quito. Ecuador. Attributable to Manuel de Chili "Caspicara" (Quito, 1723 - 1796).
Saint Teresa of Avila, as Doctor of the Church
Carved and polychromed wooden sculpture.
Height: 77 cm.
Magnificent sculpture with candelieri decoration (to be dressed). Wearing a richly adorned brown Carmelite habit and a toasted chickpea-coloured cloak with flourishes and embroidery. She wears an academic birreta. Missing from her right hand is the "plume of inspiration," and from her left, the "resting dove," as she used to call the Holy Spirit. Adorning her chest is a jewel embroidered in silver thread, with the Infant Jesus inside, symbolising her fervent love for Him, which she followed and pursued throughout her life. This represents the famous engraving by Antonius Wierix (Antwerp, c. 1555/1559 - 1604) that was in her cell, and which provided her with so much peace and love when she contemplated it.
Undoubtedly, the sculpture is a marvellous example of Quito imagery. It bears important similarities to the "Dressed Image of the Virgin of Mercy" or "Pilgrim of Quito," circa 1700-1750, kept in the LACMA, Los Angeles County Museum of Art.
It retains its original clothing of embroidered silk, silver thread, gemstones, and thread. Adorning her chest is a silk embroidered heart with the inflamed heart of the Infant Jesus, made of painted glass, inside it.
Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.
His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.
In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.
Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.
Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.
The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid. Its production was one of the activities that contributed the most income to the Royal Court of Quito.
The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".
His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.
Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.”
Reference bibliography:
- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.
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Colonial School. Quito. Ecuador. Attributable to Manuel de Chili "Caspicara" (Quito, 1723 - 1796).
Saint Teresa of Avila, as Doctor of the Church
Carved and polychromed wooden sculpture.
Height: 77 cm.
Magnificent sculpture with candelieri decoration (to be dressed). Wearing a richly adorned brown Carmelite habit and a toasted chickpea-coloured cloak with flourishes and embroidery. She wears an academic birreta. Missing from her right hand is the "plume of inspiration," and from her left, the "resting dove," as she used to call the Holy Spirit. Adorning her chest is a jewel embroidered in silver thread, with the Infant Jesus inside, symbolising her fervent love for Him, which she followed and pursued throughout her life. This represents the famous engraving by Antonius Wierix (Antwerp, c. 1555/1559 - 1604) that was in her cell, and which provided her with so much peace and love when she contemplated it.
Undoubtedly, the sculpture is a marvellous example of Quito imagery. It bears important similarities to the "Dressed Image of the Virgin of Mercy" or "Pilgrim of Quito," circa 1700-1750, kept in the LACMA, Los Angeles County Museum of Art.
It retains its original clothing of embroidered silk, silver thread, gemstones, and thread. Adorning her chest is a silk embroidered heart with the inflamed heart of the Infant Jesus, made of painted glass, inside it.
Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.
His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.
In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.
Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.
Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.
The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid. Its production was one of the activities that contributed the most income to the Royal Court of Quito.
The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".
His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.
Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.”
Reference bibliography:
- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.
Y nos dieron las 100...
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Lots: 84
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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.
Important Information
This auction brings us to number 100!
On this special occasion, we present a careful selection of European and New Spanish works, including a previously unpublished painting by Luca Giordano, a magnificent private collection of medieval Spanish sculpture and wonderful examples of painting and sculpture from Spanish America art among other.
We hope you enjoy it as much as we did preparing it.
With our thanks to all those who have made it possible for us to get this far.
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