FROM PUEBLA, MEXICO: FABULOUS EXAMPLE OF MEXICAN POPULAR FOLK ART! #49
VINTAGE LARGE 9"x7" HAND-PAINTED TIN MEXICAN RETABLO (EX VOTO).
HIGHLY DETAILED TIN RETABLO, FEATURING A DRAMATIC SCENE on the OVANDO BRIDGE* in PUEBLA, WITH MAN AND HIS DONKEY BEING PURSUED BY "LA LLORONA" (considered the most dangerous and deadly ghost in Mexico). DATED 1925. SIGNED BY "RETABLERO" *
*Most likely, painted in the 1930'th: it is highly customary to order retablo (ex voto) to give thanks to the patron saint for the favor to the member of the family that took place in the past
TEXT (loosely translated from Spanish): WHILE CROSSING THE OVANDO BRIDGE* in PUEBLA IN THE YEAR OF 1925, NICANOR CASTRO HAD AN ENCOUNTER WITH "LA LLORONA". HE THANKS WITH ALL HIS HEART THE SANTO NINO DE ATOCHA THAT HE DIDN'T SUFFER ANY HARM AND HE AND HIS DONKEY JUST HAD A SCARE. SANTO NINO DE ATOCHA APPEARS AT THE UPPER LEFT CORNER.
HISTORICAL NOTE ABOUT*OVANDO BRIDGE, Puebla: Puente de Ovando is a historic
bridge in the city of Puebla. The Ovando Bridge is a small stone bridge across
the river, which was built in about 1775, connecting the Spanish settlements with the
downtown of Puebla. Next to the bridge was the luxurious house of the councilor Agustín
de Ovando, hence the name of the bridge. Today, the Ovando
Bridge is one of the symbols of Puebla, a place full of dark stories and
legends. There where so many encounters with ghosts on that bridge over the centuries (including lethal ones), that the quantity of retablos dedicated by the survivors to their savior saints is really substantial. (See photo of the actual Ovando bridge at the end of the listing photos)
There is a hole provided for hanging on the wall. The piece is in beautiful vintage condition; you see expected scratches & imperfections on the surface due to age, as well as some expected scratches and areas of rust on the back. The piece is SOLID and in good vintage condition; decently preserved.
A NOTE of HISTORY OF RETABLO FOLK ART: Votive paintings in Mexico go by several names in Spanish such as “ex voto,” “retablo” or “lamina,” which refer to their purpose. The painting of religious images to give thanks for a miracle or favor received, is part of a long tradition started in Europe. The form that most votive paintings take from the colonial period to the present was brought to Mexico by the Spanish. As in Europe, votive paintings began as static images of saints or other religious figures which were then donated to a church. Later, narrative images, telling the personal story of a miracle or favor received appeared. These paintings were first produced by the wealthy and often on canvas; also on wood; however, as sheets of tin became affordable, lower classes began to have these painted on this medium. The narrative version on metal sheets is now the traditional and representative form of votive paintings. Though some ex votos have been painted by the person receiving the miracle, most are made byretableros: commissioned artists who interpret people's stories and produce these tokens of appreciation to be placed/hung on church walls or shrines, reinforcing the owner's devotion and gratitude. These lovely miracle paintings are in fact advertisements of the power and mercy of the saints. Due their proliferation, especially in the 18th and 19th century, many older votive paintings have left the places they were deposited and found their way into public and private collections. The collecting of tin retablos was begun by Mexican artist Diego Rivera, whose work, along with those of a number of other painters past and present, has been influenced by them. (See last photo)