9 results for "santos & retablos"

A rare Mexican ex-voto retablo commemorating a miraculous recovery from gall bladder illness, hand-painted in oil on tin by an anonymous folk artist. Created as an offering of gratit...

This retablo, created with oil paint on tin, was created by an unknown artist. It depicts a farmer giving thanks to the Virgin of San Juan after she healed his leg after being bitten by a boar. 8 1/2" x 8 1/2" art 13 1/2" x 13 1/2" frame The Spanish word retablo was derived from the Latin term retro tabula or “behind the altar” (retro for back and tabula for board, tablet; the Latin tabulum means table). It was originally used to designate elaborate wooden screens placed behind the main altar displaying sculptures, paintings, or both, of the main patron saints and other images of devotion. However, in nineteenth-century Mexico, sacred images painted on tin and displayed as an integral part of home altars were also referred to as retablos. The main function of displaying retablos in the Mexican home altars was the belief that a saint or deity would intervene in the life of the devotee, bringing good health, prosperity and protection against life’s ills. Paintings on tin plates are categorized according to the type of image represented, their purpose, location of display, function and artistic characteristics. Retablo Santo refers to depictions of different images of devotion such as those of patron saints, Jesus Christ and the many advocations of the Virgin Mary displayed in home altars for private worship. Contrary to retablo santo, the votive objects known as Retablo Ex-voto, are meant to be displayed in major pilgrimage sites as public testimonies for graces received. The retablo santo follow the canons of European art and Catholic iconography leaving very limited freedom for individual creativity. However, the retablo ex-voto depends primarily on the artist’s ingenuity and spontaneity. The Latin term ex-voto meant “the promise of,” “from a vow,” “out of vow,” or the “miracle of.” This concept of asking for favors and using art as payment and propaganda for received graces dates back to pre-historical times. It refers to the payment of a vow, made in a moment of distress, by offering to the divine figure by the intercessor, a painting or various other objects related to the grace received, in specific pilgrimage centers. They are of particular interest in recording the history and faith of the people. The ex-voto consists of three components. Most of the upper section of the composition contain the two of the three components: a painted scene depicting a miracle and, higher in this same space, the image of the invoked saint or deity. Often, at the bottom section, there is a written testimony of how the miracle occurred. The name of the artist is seldom included in the painting. The devotee commissions the retablo to a specialized artist called retablero (retablo maker) or milagrero (miracle maker). Hundreds and thousands of retablo ex-votos are left in shrines all over Mexico. The proliferation of religious centers and pilgrimage sites was established along the ancient Camino Real. Each of those sanctuaries were dedicated to a specific advocations to the Virgin Mary and Jesus Christ, where pilgrims could visit and make their offerings. Among the most famous sanctuaries are: Nuestra Señora de Guadalupe in Mexico City; El Señor de Chalma in the State of Mexico; Nuestra Señora del Patrocinio in Cerro de la Bufa, Zacatecas; Nuestra Señora de Ocotlán in Tlaxcala; San Juan de los Lagos in Jalisco; and Santo Niño de Atocha...

This Retablo, "Shepherd with Vision of Virgin of Guadalupe" is an original oil painting on tin created by Jeronimo Crus, a Mexican folk artist. It translates roughly to: "I give thanks to the Virgin of Guadalupe with all my heart because I was able to find my way home after being lost in a rain storm. She sent me a lightning bolt which illuminated the road to my village." It depicts a farmer holding a lamb as the Virgin of Guadalupe hovers in the air in front of him. 10 1/4" x 8 7/8" art 15" x 13 3/4" frame The Spanish word retablo was derived from the Latin term retro tabula or “behind the altar” (retro for back and tabula for board, tablet; the Latin tabulum means table). It was originally used to designate elaborate wooden screens placed behind the main altar displaying sculptures, paintings, or both, of the main patron saints and other images of devotion. However, in nineteenth-century Mexico, sacred images painted on tin and displayed as an integral part of home altars were also referred to as retablos. The main function of displaying retablos in the Mexican home altars was the belief that a saint or deity would intervene in the life of the devotee, bringing good health, prosperity and protection against life’s ills. Paintings on tin plates are categorized according to the type of image represented, their purpose, location of display, function and artistic characteristics. Retablo Santo refers to depictions of different images of devotion such as those of patron saints, Jesus Christ and the many advocations of the Virgin Mary displayed in home altars for private worship. Contrary to retablo santo, the votive objects known as Retablo Ex-voto, are meant to be displayed in major pilgrimage sites as public testimonies for graces received. The retablo santo follow the canons of European art and Catholic iconography leaving very limited freedom for individual creativity. However, the retablo ex-voto depends primarily on the artist’s ingenuity and spontaneity. The Latin term ex-voto meant “the promise of,” “from a vow,” “out of vow,” or the “miracle of.” This concept of asking for favors and using art as payment and propaganda for received graces dates back to pre-historical times. It refers to the payment of a vow, made in a moment of distress, by offering to the divine figure by the intercessor, a painting or various other objects related to the grace received, in specific pilgrimage centers. They are of particular interest in recording the history and faith of the people. The ex-voto consists of three components. Most of the upper section of the composition contain the two of the three components: a painted scene depicting a miracle and, higher in this same space, the image of the invoked saint or deity. Often, at the bottom section, there is a written testimony of how the miracle occurred. The name of the artist is seldom included in the painting. The devotee commissions the retablo to a specialized artist called retablero (retablo maker) or milagrero (miracle maker). Hundreds and thousands of retablo ex-votos are left in shrines all over Mexico. The proliferation of religious centers and pilgrimage sites was established along the ancient Camino Real. Each of those sanctuaries were dedicated to a specific advocations to the Virgin Mary and Jesus Christ, where pilgrims could visit and make their offerings. Among the most famous sanctuaries are: Nuestra Señora de Guadalupe...

This retablo was purchased by the gallery in Mexico City. I knew the family that sold the retablo to me. It is dated 1853 because the story on the retablo was passed down for generations and a relative of Lourdes painted it in her memory. The description on the ex-voto reads: "Thanks to the Virgen of San Juan de los Lagos that I have a new job with my new bosses. That they like my food and they don't mind what I prepare for them. " It is in excellent condition. It is framed behind conservatorship glass. The framed size is 14" x 15". The class should only be cleaned with ammonia free cleaner. An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow (hence the Latin term, short for ex voto suscepto, "from the vow made") or in gratitude or devotion. Ex-votos are placed in a church or chapel where the worshiper seeks grace or wishes to give thanks. The destinations of pilgrimages often include shrines decorated with ex-votos. Ex-votos can take a wide variety of forms. They are not only intended for the helping figure, but also as a testimony to later visitors of the received help. As such they may include texts explaining a miracle attributed to the helper, or symbols such as a painted or modeled reproduction of a miraculously healed body part, or a directly related item such as a crutch given by a person formerly lame. There are places where a very old tradition of depositing ex-votos existed, such as Abydos in ancient Egypt. Especially in the Latin world, there is a tradition of votive paintings...

An exceptional mid-century Mexican tin candleholder, featuring three arms and intricate hand-punched star and dot motifs typical of folk tinwork from Oaxaca and central Mexico. The symmetrical, crescent-shaped form is elevated on a pedestal base, giving the piece both architectural structure and sculptural presence. The underside bears the simple stamped mark “MEXICO,” confirming its origin. This piece was sourced from the Jonathan Parks estate in Santa Fe, known for his discerning eye for Southwestern and Latin American art and design. The geometric punching patterns and domed detailing echo traditional “hojalata” (tin art) techniques that Mexican artisans developed in the 19th and 20th centuries—originally inspired by Spanish colonial metalwork traditions. Condition Excellent vintage condition with age-appropriate wear, light surface oxidation, and minor irregularities consistent with handcraftsmanship. The piece retains a soft, silvery patina that highlights its intricate texture and history. Styling Ideas - Display as a centerpiece on a rustic farmhouse or desert-modern dining table, flanked by pottery or woven textiles. - Style on a mantel, console, or altar table alongside santos figures, retablos, or other Mexican tinwork. - Perfect for interiors that celebrate Santa Fe style, Hacienda revival, or old-world craftsmanship — blending beautifully with both European and Southwestern antiques...

This beautifully hand-tooled Mexican tin mirror embodies the spirit of traditional folk craftsmanship found throughout Central and Northern Mexico a...

An antique Mexican hand-crafted architectural church cathedral carved, distressed painted white wooden religious folk art niche - altarpiece from the early 20th century. Use for home shrines, votive offerings, display Retablo, Santo figures, candles. Very good quality and craftsmanship. Rustic, elegantly aged, some chippy paint. No figures are included, we have some available separately as well as other religious relics...