Viceregal Latin American Art

Leonardo Flores (1650-1710?)
Known as the Master of the School of El Collao
Audiencia Real of Charcas (Actual Bolivia)
17th century

Anonymous artist, Cuzco School.
18th century
Oil on canvas

Wood, tortoiseshell and mother-of-pearl

Unidentified artist
Viceroyalty of Peru (Peru), 17th century
Oil on canvas
Inscription above his head “BENIGNITAS ET MANSVTVDODI”
Inscription of the plinth “ETENIM DOMN 9 DABIT BENIGNITATEM Y ET TERRA NOSTRA DABIT FRVCTUM SVUM PSA. 84”

Unidentified artist
Viceroyalty of Peru (Peru), 17th century
Oil on canvas
Inscription above his head “PAX ET A IVSTITIA DEI”
Inscription on the plinth “NOLO MORTE PECCATORIS SED VI MAGIS COVERTATVR ET VIVAT, EZEC, 33.”

Enconchado, oil and mother of-pearl, inlay on panel.

Enconchado, oil and mother of-pearl, inlay on panel.

Unknown artist
Ayacucho (Peru), late 17th century
Carved Huamanga stone, encaustic polychrome, gold leaf estofado
Inscriptions: upper left side “DÑS MIHI A DIVTOR”, left side “SANCTUS FERDINANDUS HISPANIAE REXSARA CENORV MATER RORA CRELIGIO”

Unidentified artist
Cuzco(Peru), c. 1720–1750
Oil on canvas

Cuzco (Peru), last third of the 17th century
Oil on canvas

Mexico, 17th18th century
Oil on canvas

Unidentified artist
Cuzco School, 18th century
Oil on canvas

Huamanga, Ayacucho.
Signed: Pedro D Mena.
Carved Huamanga stone, encaustic polychromy, gold leaf “estofado”

Unidentified artist
New Spain (Mexico), first half of the 18th century
Oil on canvas

Unidentified artist
Mexico, Late 17th century
Carved, gilt and polychromed wood, gilt bronze

Saint Anthony of Padua and the Miracle of the Mule
Oil on canvas

Our Lady of Valvanera
c. 1700
Oil on canvas
Signed “D. Francisco de Morales fessi”
Inscription “Bolvio el rosto XP por no ver ū sacrile”

Unidentified artist
Guatemala, c. 1790
Carved and polychromed wood

Unidentified artist
Chairapata, Potosí (Bolivia), 1813
Oil on canvas
Inscription “Verdadero retrato de Nuestra Señora. de Guadalupe de Chairapata, a devoción de Su Párroco el D. D. Manuel de Lossada, y Amezaga Año de 1813.”

Unidentified artist
Quito (Ecuador), 18th century
Oil on canvas

Viceroyalty of Peru (Peru)
Oil on canvas
Inscription “A devocion del YLmo Señor Dr. Dn. Juan Manuel
Moscoco y Peralta, Natural de la Ciudad de Arequipa Dionissimo
Obispo de la Ciudad de Cordoba.”

Unidentified artist
Queretaro (Mexico), Late 17th–early 18th century
Polychromed terracotta

Oil on canvas

Unidentified artist
Viceroyalty of Peru (Peru), 17th century
Oil on canvas

Triptych case
Unidentified artist
Japan, Momoyama Period (1572–1615), c. 1610

Painting
Unidentified artist
New Spain (Mexico), 17th century
Wood, lacquer, gold and silver dust, mother-of-pearl,
colored glass and gilt bronze mounts; oil on copper plate

Unidentified artist
Upper Peru (Bolivia), 18th century
Oil and gold on brass

Unidentified artist
Lake Titicaca workshop, c. 1730
Oil and gold on copper

Unidentified artist
Lake Titicaca workshop, c. 1730
Oil and gold on copper

Unidentified artist
Lake Titicaca workshop, c. 1730
Oil and gold on copper

Quito (Ecuador), 2nd half of the 17th century
Polychromed wood

Unidentified artist
Brazil, 18th century
Carved and polychromed wood

Mexico, c. 1697–1703
Signed ‘Ju, Go, Fe’
Oil and mother-of-pearl on wooden panel

Unidentified artist
Guatemala, 18th century
Oil on canvas

Unknown artist
Ayacucho (Peru), 17th century
Carved Huamanga stone, encaustic polychrome, gold leaf estofado

Last third of the 18th century
Carved, gilt, polychromed wood

Spanish-Filipino
Polychrome Ivory

Goa (Indo-Portuguese )or Sri Lanka (Cingalo-Portuguese)
Ivory and silver arrows.

First third of the 18th century
Oil on canvas
Signed “Po Calderon fec. Mexco 173”

Unidentified artist
Guatemala, late 18th–early 19th century
Carved and polychromed wood, estofado and gilt silver

Unidentified artist
Cuzco (Peru), first half of the 18th century
Oil on canvas

Indo Portuguese or hispano-philippine
Ivory

Mexico, active second half of 17th century
Enconchado, oil and mother of-pearl, inlay on panel.
Signed: Miguel Gonzal
Inscription: AGNUS ADEST AGNIS

Philippines
Ivory

Mexico, late 17th century
Oil and mother-of-pearl on wooden panel

Unidentified artist
New Spain (Mexico), first half of the 18th century
Twelve adjoined wooden panels, oil on red makie lacquer

Oil on canvas

Oil on canvas

Unidentified artist
Peru, 17th century
Oil on copper

Anonymous artist
Titicaca, Peru
First half of the 18th century
Oil on canvas stuck to wooden panel

Mexico, late 17th century
Oil and mother-of-pearl on wooden panel

New Spain (Mexico), 18th century
Carved mahogany, red damask, gold leaf decoration

Cuzco, Peru, 18th century.
Oil on canvas

Unidentified artist
New Spain (Mexico), c. 1650–1700
Oil on copper

Oil on canvas

Oil on canvas

Oil on canvas

Unidentified artist
New Spain (Mexico), 1673
Oil on copper
Inscription “Ætatis sua 25”

Dated “Año. de 1782”
Oil on canvas

Viceroyalty of Peru, Cuzco.
Carved wood, gilt and polychrome, covered with gold leaf.

Cuzco School
Wooden chest with iron fittings, handles, and lock. Lid of the chest lined in studded leather.

Upper Peru
Cedar wood, painted in oil with purpurin gilding. Iron hinges, lock and key.

Mexico, Tonalá, 1710
Earthenware
Molded, shaped and burnished with slip (engobe); single firing. Polychrome wooden lid

Oil on canvas
Inscription: R. de N Sa del Cortijo de la Villa de Soto de los Cameros Obpdo. de Calaorra Cop.de su original â devocion de Dn Antonio de Benito y Vallejo Natural de dicha Villa por Josef Villanueva â 16 de Enero de 1737

Anonymous artist
Viceroyalty of New Granada, Audiencia of Quito (current Ecuador).
Polychrome wood, with metal lock.

Vice-Regency of Peru.
Cedar and fruit tree wood.
Clasp and keyhole, handle and hinges made of hammered wrought iron.

Oil on Copper

Cuzco, Peru.
Paintings: Diego Quispe Tito's workshop (San Sebastián del Cuzco, 1621 – 1687)
Oil on wooden panel, gilt carved wood and iron fittings

Mexico, Oaxaca.
Oil on canvas mounted on wooden racks.

Vellum paper, a term derived from the old French vélin, meaning ‘calfskin’ or ‘calf leather’,
is a type of parchment which is very useful for printing highly detailed images.

Vellum paper, a term derived from the old French vélin, meaning ‘calfskin’ or ‘calf leather’, is a type of parchment which is very useful for printing highly detailed images.

Carved, gilded and poly-chrome wood.

Viceroyalty of New Spain (Mexico)
Paintings: Oil and tempera on wooden panel, mother-of-pearl, gold and silver;
Box: Jacaranda and cedar wood, bone and iron

Signed and dated: 1722. Bernardo Polanco me fecit.

Bolivia, possibly Moxos of Chiquitos
Cast and chased wood and iron

Lima, Peru.
Assembled and carved wood.

Oaxaca, Mexico.
Wood, iron lock.

Oaxaca, Mexico.
Wood from Lemon, Granadillo and Lign-Aloes trees "Zulaque" vegetable dyes, iron metalwork.

Bolivia
Wood and iron

Vice-royalty of New Spain (Oaxaca, Mexico).
Gold, jet, and enamel.