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Attributed to Manuel Chili Caspicara (Ecuador, 1723 - 1796)
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Description
Attributed to Manuel Chili Caspicara (Ecuador, 1723 - 1796)
"Corpus Christi"
Sculpture in carved and polychrome wood.
134 x 131 cm.
Our image is undoubtedly comparable to one of the most important attributed to the sculptor, the recumbent Christ in the Museum of the Central Bank of Ecuador.
It must have been an important commission, by someone in a high political or ecclesiastical position. It must be remembered that Caspicara was born in the city of Quito, then the capital of the Spanish Royal Court of the same name. The Audiencia y Cancillería Real de Quito (1563-1822) was the highest court of the Spanish Crown in the territories of the province.
As can be seen, it preserves, thanks to a museum intervention, much of its wonderful original polychromy, in the faces and half torso with that original tone of Caspicara as porcelain, and in the purity cloth that stylistically and at the level of polychromy is not possible to attribute to any author of our country, but once again refers us to Caspicara.
The result of the handling of the gouge that creates this Christ, human, recently expired, with an anatomically perfect face and body, sculpturally of great mastery, truly deserves a reverential and paused contemplation.
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.”
Bibliographic references:
- Aguilar Paredes, Jaime "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoca Ricke, p. 104.
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Attributed to Manuel Chili Caspicara (Ecuador, 1723 - 1796)
"Corpus Christi"
Sculpture in carved and polychrome wood.
134 x 131 cm.
Our image is undoubtedly comparable to one of the most important attributed to the sculptor, the recumbent Christ in the Museum of the Central Bank of Ecuador.
It must have been an important commission, by someone in a high political or ecclesiastical position. It must be remembered that Caspicara was born in the city of Quito, then the capital of the Spanish Royal Court of the same name. The Audiencia y Cancillería Real de Quito (1563-1822) was the highest court of the Spanish Crown in the territories of the province.
As can be seen, it preserves, thanks to a museum intervention, much of its wonderful original polychromy, in the faces and half torso with that original tone of Caspicara as porcelain, and in the purity cloth that stylistically and at the level of polychromy is not possible to attribute to any author of our country, but once again refers us to Caspicara.
The result of the handling of the gouge that creates this Christ, human, recently expired, with an anatomically perfect face and body, sculpturally of great mastery, truly deserves a reverential and paused contemplation.
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.”
Bibliographic references:
- Aguilar Paredes, Jaime "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoca Ricke, p. 104.
The origins of an Antiquarian · Passion for sculpture
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Lots: 57
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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.
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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.-€
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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.
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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".
