<strong>ALMARAZ</strong>, Carlos
<em>1984 Olympic Poster</em>
poster reproduction
36 x 24 1/4 in.
Almaraz, Carlos, Mexican/American, 1941-1989
Gift of the Olympic Arts Festival
n.d.
1983.38
<strong>ANDEAN</strong>
<em>Virgin and Child</em>
oil on canvas on composition board
frame: 30 7/8 x 22 1/2 x 7/8 in.
Spanish Colonial
Artist unknown, Andean
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.60
<strong>Artist unknown, Peruvian</strong>
<em>Mary Magdalene</em>
ca. 1800
oil on canvas on compostition board
11 3/4 x 9 7/8 in.
<strong>Artist unknown, Peruvian</strong>
Gift of Dr. Stephen S. Goodspeed and Mrs. John Ainsworth Goodspeed
ca. 1800
1966.4
<strong>ARTIST UNKNOWN</strong>
<em>St. Thomas Aquinas</em>
oil on canvas board
20 x 15 3/8"
Artist unknown
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.39
<strong>Artist unknown</strong>
<em>St. Thomas Aquinas</em>
oil on canvas board
20 x 15 3/8"
<strong>Artist unknown</strong>
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.39
<strong>BIRK</strong>, Sandow
<em>Old Folsom State Prison - Represa, CA</em>
Etching with drypoint
21 x 17" FRAMED
Etching of a prison building with foliage at upper left. At lower right, signed.
Birk, Sandow
Estate of Frances Garvin and Keith Julius Puccinelli
ca. 2000
2018.001.008
<strong>CANTU</strong>, Federico
<em>working cartoon for "Grisaille Fresco Panels"</em>
chalk, black and white wash on tan paper
framed: 79 3/8 x 100 1/4 x 1 3/4 in
Cantu, Federico, Mexican, 1908 -
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
20th C.
1964.165
<strong>CANTU</strong>, Federico
<em>La Caracola</em>
1944
Pompeian wash, ink and gouache
25 1/2 x 19 3/4" SHEET
Brown ink wash drawing on paper of a donkey's head with flared nostrils. He is also displaying stiff ears and strong teeth; donkey's head and neck have been formed in the shape of a conch shell.
<strong>CANTU</strong>, Federico
b. Mexico, 1908-1989
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
1944
1963.27
<strong>CANTU</strong>, Federico
<em>Creation of the Unicorn</em>
1939
Ink, gouache on paper mounted to board
22 x 25" SHEET
Ink and gouache drawing of a Unicorn leaning his head toward a seated figure at right. Signed and dated at lower right.
<strong>CANTU</strong>, Federico
b. Mexico, 1908 -1989
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
1939
1963.29
<strong>CANTU</strong>, Federico
working cartoon for <em>"Grisaille Fresco Panels"</em>
20th C.
chalk, black and white wash on tan paper
framed: 79 3/8 x 100 1/4 x 1 3/4 in
<strong>CANTU</strong>, Federico
Mexican, 1908 -
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
20th C.
1964.165
<strong>CANTU</strong>, Federico
working cartoon for <em>"Grisaille Fresco Panels"</em>
20th C.
chalk, black and white wash, orange and tan paint on paper
framed: 79 3/8 x 100 1/4 x 1 3/4 in
<strong>CANTU</strong>, Federico
Mexican, 1908 -
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
20th C.
1964.166
<strong>CANTU</strong>, Federico
<em>The Return of Achilles</em>
1936
Oil monotype and ink
24 1/2 x 17" SHEET
<strong>CANTU</strong>, Federico
b. Mexico, 1908 -1989
Gift of Mrs. MacKinley Helm in memory of Dr. MacKinley Helm
1936
1963.28
<strong>CHILLIDA</strong>, Eduardo
<em>Gezna II</em>
1969
etching
sheet: 26 1/2 x 25 1/4; image: 10 1/4 x 9 1/4 in.
<strong>CHILLIDA</strong>, Eduardo
Spanish, 1924 -2002
Gift of Julia Emerson
1969
1983.53
<strong>COELHO</strong>, Ciro
<em>Stone Breakers #2, Ilha Bela, Brazil</em>
Gelatin silver print
20 x 23 15/16 "
Gelatin silver print of two men breaking up stones; a third inidividual is shadowed at left.
COELHO, Ciro
Brazilian
Gift of Gary Brown
n.d.
2003.001.001
<strong>DOSAMENTES</strong>, Francisco
<em>Women of Oaxaca</em>
lithograph
11 3/8 x 15 3/4 in
Dosamentes, Francisco, Mexican, 1911 -
1946
1975.89
<strong>GUATEMALAN OR HONDURAN</strong>
<em>Standing Virgin Mary</em>
wood
16 1/2"
Artist unknown, Guatemalan or Honduran
Gift of Mrs. Edwin Brooks
n.d.
1959.3
<strong>GUATEMALAN OR HONDURAN</strong>
<em>Priest with Bible, Standing on Dias</em>
wood and paint
9 x 3 1/2 x 3 1/4"
Artist unknown, Guatemalan or Honduran
Gift of Mrs. Edwin Brooks
n.d.
1959.5
<strong>GUATEMALAN</strong>
<em>Torso of Man Praying</em>
wood
16 1/2"
Artist unknown, Guatemalan
Gift of Mrs. Edwin Brooks
18th century
1959.4
<strong>GUATEMALAN</strong>
<em>Torso of a Woman Praying</em>
wood and paint
8 7/8 x 13 1/8 x 1 1/4"
Wood relief carving depicting the head and torso of woman praying.
Artist unknown, Guatemalan
Gift of Mrs. Edwin Brooks
18th C.
1959.6
<strong>GUATEMALAN</strong>
<em>Padre and Volcanoes</em>
wood, and paint
8 3/4 x 11 x 1 1/4"
Wood relief carving depicting a Padre with erupting volcanoes in the background.
Artist unknown, Guatemalan
Gift of Mrs. Edwin Brooks
18th C.
1959.7
<strong>Helguera</strong>, Pablo
<em>An Accident: America</em>
2007
Paper collage
12 x 9"
A paper collage employing an upside down map of Central and South America, a black and white image of a man with a car, and several circle cut outs, among other imagery. On the upper half of the work are the words "AN ACCIDENT: AMERICA." The lower half of the work reads "The more believable image is that of chaotic singularity, where the breakdown of law leads to complete randomness, so that the energing material and influences have no in-built organization at all." On reverse, signed and dated.
<strong>Helguera</strong>, Pablo
b. Mexico, 1971
Gift of the artist
2007
2018.010.001
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
lithograph
11 5/8 x 7 7/8 in
Merida, Carlos, Mexican, 1891 -
1934
1973.49
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
lithograph
11 3/4 x 8 in
Merida, Carlos, Mexican, 1891 -
1934
1973.50
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
lithograph
11 11/16 x 7 7/8 in
Merida, Carlos, Mexican, 1891 -
1934
1973.51
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
Lithograph
11 5/6 x 7 7/8 in
Merida, Carlos, Mexican, 1891 -
20th. C.
1973.52
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
1934
lithograph
11 5/8 x 7 7/8 in
<strong>MERIDA</strong>, Carlos
Mexican, 1891 -
1934
1973.49
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
1934
lithograph
11 3/4 x 8 in
<strong>MERIDA</strong>, Carlos
Mexican, 1891 -
1934
1973.5
<strong>MERIDA</strong>, Carlos
Untitled
1934
lithograph
11 11/16 x 7 7/8 in
<strong>MERIDA</strong>, Carlos
Mexican, 1891 -
1934
1973.51
<strong>MERIDA</strong>, Carlos
<em>Untitled</em>
20th. C.
Lithograph
11 5/6 x 7 7/8 in
<strong>MERIDA</strong>, Carlos
Mexican, 1891 -
20th C.
1973.52
<strong>MEXICAN</strong>
<em>Walking Priest (Possibly St. Francis of Assissi)</em>
wood, gilt
17 1/2 x 17 1/2"
Polychrome sculptures of Christ, the Virgin and the Saints were a widespread tool for Catholic devotion in the Spanish Colonial world, though they originated in early modern Spain. The figures are assembled from separate painted wooden parts, and held together through an interior armature. The surfaces of polychrome sculptures were originally painted in vibrant colors, gilded with gold leaf, dressed with fine fabrics, real hair and marble eyes. Native Artist unknown, Artist unknown, Mexico workers produced polychrome sculpture in Mission workshops across Mexico. The realistic, material qualities of these sculptures made them powerful tools for conversion and religious teaching in the Missions, where they were (and are) displayed prominently on altars and in church niches. For a Catholic viewer, these polychrome sculptures would have evoked a sense of the saints real physical presence, and functioned as objects of intense devotion.
Artist unknown, Mexico
Gift of Mrs. Edwin Brooks
c. 1725
1959.1
<strong>MEXICAN</strong>
<em>Fragment from an Altar Front: Holy Family</em>
wood
26 3/4 x 14 3/4"
Artist unknown, Mexican
Gift of Mrs. Edwin Brooks
mid 18th century
1959.10
<strong>MEXICAN</strong>
<em>Baroque Panel of Patroness Saint</em>
carved wood
19 x 14 3/4"
Circular carved wooden panel of Patroness Saint
Artist Unknown, Mexico
Gift of Mrs. Edwin Brooks
mid 17th century
1959.11
<strong>MEXICAN</strong>
<em>The Holy Trinity</em>
oil on canvas on board
18 x 22 3/8 in.
Sacred Heart imagery came to New Spain (present day Mexico) in the seventeenth century, and had many interrelated meanings for Catholics. In this painting, two hearts appear like mystic visions surrounded by light. The one on the left represents the Sacred Heart of Christ, floating between the central figure of Christ and his earthly father Joseph, who was also the patron saint of indigenous conversion in the Americas. The heart is encircled by a crown of thorns and topped by a cross, representing Christs self-sacrifice for humankind. To the right, the Immaculate Heart of the Virgin Mary appears between Christ and his mother Mary, pierced with multiple daggers to represent Marys suffering over the death of her son. Intersecting with the horizontal axis of Christs earthly family is a representation of his divine origins. God, Christs heavenly father, appears at the top of the central vertical axis above the Holy Spirit represented by a dove, culminating in the figure of Christ, the third member of the Trinity. In this small, devotional painting, the figure of God looking down at Christ acted as a model of a contemplative meditation for viewers.
Artist unknown, Mexican
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.54
<strong>MEXICAN</strong>
<em>Virgin of the Rosary with St. Dominic and St. Francis</em>
oil on wood panel
18 1/4 x 16 3/4 x 1 in.
Images of the Virgin of the Rosary were exceptionally popular in the California Missions, and here we see her with two saints central to Franciscan spirituality: Dominic, to whom the Virgin presented the rosary to reward his conversion efforts, and Francis, the founder of their missionary order. Images of the Virgin with important saints served the personal piety of the Franciscan priests, emphasizing the privileged position of Francis and his order. The notches on the bottom of this paintings wood panel indicate that it was displayed in Catholic processions, resting on tall wooden poles to ensure its visibility. These types of processions were common in the Missions, and would serve as both a community gathering and a public display of religious images in hopes of moving the faithful.
Artist unknown, Mexican
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
18th c.
1966.57
<strong>MEXICAN</strong>
<em>Archbishop with Christ Child</em>
oil on canvas on composition board
31 x 22 1/2 in.
Spanish Colonial. Kneeling saint in ecclesiastical costume with child
Artist unknown, Mexican
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.61
<strong>MEXICAN</strong>
<em>Queretero</em>
Cyanotype?
Artist unknown, Mexican
Gift of Miss Margaret Mallory, Dean's Office Purchase Fund
ca. 1892
1984.167
<strong>MEXICAN</strong>
<em>Sugar Bowl</em>
silver
2 1/4 x 3 x 5 in.
Silver sugar bowl; ribbed rim with curled handles which appear to be soldered onto sides. Obscured Mexican sliver hallmark on underside of bowl with the letters MEX and SAND visible.
Mexican, Artist Unknown
Gift of Julia Emerson
n.d.
1984.7
<strong>MEXICAN</strong>, <strong>HUICHOL PEOPLE</strong>
<em>Huichol Mexican Mask</em>
Beads on carved wood
9 6/8 x 8 3/8 x 5 6/8" OVERALL
Mexico is the birthplace of the ancient indigenous Huichol people which still exists today in Jalisco, Durango, Zacatecas, Nayarit and extends in settlements crossing through the Sierra Madre Mountains. Without having a written language, art making provides an avenue for the Huichols shamanic beliefs to be expressed in the form of Beaded masks and Yarn paintings. Images of maize, peyote or deer are created by pressing beaded needles in beeswax onto a base made of clay or wood. This practice has also become commercially successful and provided much needed income for the Huichol while retaining an adherence to and preservation of ritual practices which can often become compromised as cultures advance.
Artist unknown, Mexican
Estate of Frances Garvin and Keith Julius Puccinelli
ca. 1930
2018.001.003
<strong>MEXICAN</strong>, <strong>HUICHOL PEOPLE</strong>
<em>Huichol Mexican Mask</em>
Beads on carved wood
12 4/8 x 7 3/8 x 2 3/8" OVERALL
Mexico is the birthplace of the ancient indigenous Huichol people which still exists today in Jalisco, Durango, Zacatecas, Nayarit and extends in settlements crossing through the Sierra Madre Mountains. Without having a written language, art making provides an avenue for the Huichols shamanic beliefs to be expressed in the form of Beaded masks and Yarn paintings. Images of maize, peyote or deer are created by pressing beaded needles in beeswax onto a base made of clay or wood. This practice has also become commercially successful and provided much needed income for the Huichol while retaining an adherence to and preservation of ritual practices which can often become compromised as cultures advance.
Artist unknown, Mexican
Estate of Frances Garvin and Keith Julius Puccinelli
ca. 1930
2018.001.004
<strong>MEXICAN</strong>, <strong>HUICHOL PEOPLE</strong>
<em>Huichol Mexican Mask</em>
Beads on carved wood
11 3/8 x 6 1/8 x 1 6/8" OVERALL
Mexico is the birthplace of the ancient indigenous Huichol people which still exists today in Jalisco, Durango, Zacatecas, Nayarit and extends in settlements crossing through the Sierra Madre Mountains. Without having a written language, art making provides an avenue for the Huichols shamanic beliefs to be expressed in the form of Beaded masks and Yarn paintings. Images of maize, peyote or deer are created by pressing beaded needles in beeswax onto a base made of clay or wood. This practice has also become commercially successful and provided much needed income for the Huichol while retaining an adherence to and preservation of ritual practices which can often become compromised as cultures advance.
Artist unknown, Mexican
Estate of Frances Garvin and Keith Julius Puccinelli
ca. 1930
2018.001.005
<strong>MEXICAN</strong>, <strong>HUICHOL PEOPLE</strong>
<em>Huichol Mexican mask</em>
Beads on carved wood
11 1/8 x 6 4/8 x 2 1/8" OVERALL
Mexico is the birthplace of the ancient indigenous Huichol people which still exists today in Jalisco, Durango, Zacatecas, Nayarit and extends in settlements crossing through the Sierra Madre Mountains. Without having a written language, art making provides an avenue for the Huichols shamanic beliefs to be expressed in the form of Beaded masks and Yarn paintings. Images of maize, peyote or deer are created by pressing beaded needles in beeswax onto a base made of clay or wood. This practice has also become commercially successful and provided much needed income for the Huichol while retaining an adherence to and preservation of ritual practices which can often become compromised as cultures advance.
Artist unknown, Mexican
Estate of Frances Garvin and Keith Julius Puccinelli
ca. 1930
2018.001.006
<strong>MEXICAN</strong>, <strong>HUICHOL PEOPLE</strong>
<em>Huichol, Mexican mask</em>
Beads on carved wood
11 7/8 x 6 3/8 x 2 4/8" OVERALL
Mexico is the birthplace of the ancient indigenous Huichol people which still exists today in Jalisco, Durango, Zacatecas, Nayarit and extends in settlements crossing through the Sierra Madre Mountains. Without having a written language, art making provides an avenue for the Huichols shamanic beliefs to be expressed in the form of Beaded masks and Yarn paintings. Images of maize, peyote or deer are created by pressing beaded needles in beeswax onto a base made of clay or wood. This practice has also become commercially successful and provided much needed income for the Huichol while retaining an adherence to and preservation of ritual practices which can often become compromised as cultures advance.
Artist unknown, Mexican
Estate of Frances Garvin and Keith Julius Puccinelli
ca. 1930
2018.001.007
<strong>PERUVIAN</strong>
<em>Mary Magdalene</em>
ca. 1800
oil on canvas on compostition board
11 3/4 x 9 7/8 in.
Artist unknown, Peruvian
Gift of Dr. Stephen S. Goodspeed and Mrs. John Ainsworth Goodspeed
ca. 1800
1966.40
<strong>PINEDA</strong>, J.
<em>Untitled (man and boy embracing)</em>
1968
lithograph
8 1/2 x 3 1/2 in
<strong>PINEDA</strong>, J.
Spanish, b.1837-1907
Gift of Professor Alfred Moir
1968
1973.13
<strong>SOUTH/CENTRAL AMERICA</strong>
<em>Archangel Gabriel?</em>
oil on canvas on board
frame: 27 3/8 x 18 7/16 x 7/8 in.
Spanish Colonial. Depicts standing winged figure pointing heavenward and holding lillies.
Artist unknown, South/Central America
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.52
<strong>SOUTH/CENTRAL AMERICA</strong>
<em>Virgin of the Rosary</em>
oil on tin
9 1/8 x 6 1/2 in.
Dedication to a Prior Head of Friars
Artist unknown, South/Central America
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
ca. 18th - 19th C.
1966.58
<strong>SOUTH/CENTRAL AMERICAN, ANDEAN</strong>
<em>Our Lady of Candlemas</em>
oil on canvas on composition board
frame: 26 1/2 x 20 1/2 x 7/8 in.
Spanish Colonial
Artist unknown, South/Central America, Andean
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
late 18th, early 19th century
1966.43
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>St. Michael</em>
stucco and paint on tin
13 1/4 x 10 1/4 x 3/4 in.
Artist unknown, South/Central American
Gift of Anonymous Donor
18h C.
1959.54
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>Santo, St. Francis</em>
oil on wood panel
8 3/4 x 6 x 1/2 in.
Original wood panel
Artist unknown, South/Central American
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.101
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>Saint Dominic with Monstrance</em>
oil on canvas with silver on masonite
14 1/4 x 10"
Artist unknown, South/Central American
Gift of Stephen Goodspeed
n.d.
1966.35.2
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>San Ram Nonato</em>
on canvas on board
18 1/2 x 24 1/2"
Special note to this saint is the padlock associated with his martyrdom represented by the black circles around his mouth. Locks are placed at his altar to stop gossip, rumours, false testimonies and bad talk. They are also used to keep secrets, stop cursing or lying and to guard priests defending the confidentiality of confession. After placing a lock the person takes a seat in the main bench, for all to see.
Artist unknown, South/Central American
Gift of Dr. Stephen Goodspeed
n.d.
1966.36.2
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>Virgin Mary</em>
oil on fabric
22 3/8 x 17 5/8"
Artist unknown, South/Central American
Gift of Dr. Stephen Goodspeed and Mrs. John Goodspeed Ainsworth
ca. 1750
1966.38
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>Saint Theresa</em>
oil on canvas on composition board
19 x 14 in.
Spanish Colonial. Depicts Saint Theresa with a flaming heart, carrying a book and crozier.
Artist unknown, South/Central America
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.45
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>St. Rose of Limas</em>
oil on canvas on composition board
17 x 13 3/8 in.
Artist unknown, South/Central America
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
n.d.
1966.47
<strong>SOUTH/CENTRAL AMERICAN</strong>
<em>Virgin of Mercy with St. Augustine and St. Jerome</em>
oil on canvas on board
14.5 x 11.25
Spanish Colonial
Artist unknown, South/Central America
Gift of Dr. Stephen S. Goodspeed and Mrs. John Goodspeed Ainsworth
ca. 18th C.
1966.48
<strong>SUMAN</strong>, Alvaro A.
<em>Princess Pissing</em>
stoneware and porcelain
overall: 7 5/8 x 6 inches diameter
In two pieces: (a) jar (b) lid.
Suman, Alvaro A., 1952 - Present, Mexican
Ruth S. Schaffner Collection
ca. 1979/80
1988.41.a-b
<strong>TAMAYO</strong>, Rufino
<em>Head</em>
Lithograph
15 1/4 x 18 5/8 x 1" FRAMED
Image of a head which appears to be mirror images on each side with non-descript and abstracted features.
Tamayo, Rufino, 1899 - 1992, Mexican
Gift of Don Trevey to the Ken Trevey Collection of American Realist Prints
1975
1995.57
<strong>VILLALPANDO</strong>, Cristóbal de
<em>The Mystic Marriage of St. Rose of Lima</em>
oil on canvas
canvas: 93 3/4 x 63 3/8 inches
St. Rose de Lima was the first native-born American to be canonized (1671) and is the patron saint of Latin America and the Philippines. She is renowned for her piety, self-sacrifice, and the numerous visions she experienced. Cristal de Villalpando, a prolific Mexican painter of the colonial painter, painted St. Rose at a defining moment in her life: when the infant Jesus appeared to her proffering a rose and declaring, Rose of my heart, I take you as my wife. To contemporary audiences such a union seems odd, but this betrothal was a reference to Roses spiritual destiny to enter the convent and become a bride of Christ, as nuns were more traditionally known.
<strong>VILLALPANDO</strong>, Cristóbal de, Spanish Colonial, Mexican, ca. 1645 - 1714
Gift of Robert K. and Gene O. Woolf
ca. 1700
1986.411
Artist unknown
<em>St. Anne</em>
18th C.
wood, stucco, polychrome, traces of gold leaf, glass eyes
42 x 18 x 11 in.
<strong>Artist unknown</strong>
Mexico
Gift of Robert and Gene O. Woolf
18th C.
1982.17