A Peripatetic Virgin: A Seventeenth-Century Ivory Carving from Manila in the National Gallery of Victoria

Click to increase image sizeClick to decrease image size

Notes

1 Obituary of Mr Howard Spensley, Evening News (Sydney), 12 August 1902, 3.

2 Bedfordshire Archive Services, http://bedsarchivescat.bedford.gov.uk/Details/archive/110031444.

3 A handful of works from Spensley’s collection ended up elsewhere, also as gifts to friends and family, before his death. For example, the Baccio Bandinelli Two Studies of the Head of a Youth (c. 1550) is now in the Art Institute of Chicago, https://www.artic.edu/artworks/145830/two-studies-of-the-head-of-a-youth.

4 Howard Spensley, ‘Catalogue of Ivories and Other Things’ (manuscript, National Gallery of Victoria, Shaw Research Library, RB NGV SPENSLEY), 44.

5 Regaldo Trota Jose, Images of Faith: Religious Carvings from the Philippines (Pasadena, Calif.: Pacific Asia Museum, 1990), 76–77 and 96; Regalado Trota Jose and Ramon N. Villegas, Power. Faith. Image. Philippine Art in Ivory from the 16th to the 19th Century (Makati, Philippines: Ayala Foundation Inc., 2004), 210–11; Margarita Mercedes Estella Marcos, Ivories from the Far Eastern Provinces of Spain and Portugal, 2nd edn (Monterrey, Mexico: Cydsa, Grupo Vitro and Espejo de Obsidiana Ediciones, 2010), 158–59; http://collections.ashmolean.prg/collection/search/per_page/25/offset/0/sort_by/relevance/object/25613”.

6 Shirley Fish, The Manila-Acapulco Galleons: The Treasure Ships of the Pacific, with an Annotated List of the Transpacific Galleons 1565–1815 (Central Milton Keynes, UK: AuthorHouse, 2011).

7 See Alan Chong, ‘Christian Ivories by Chinese Artists: Macau, The Philippines, and Elsewhere, Late 16th and 17th Centuries’, in Christianity in Asia: Sacred Art and Visual Splendour, ed. Alan Chong (Singapore: Asian Civilisations Museum, 2016), 206.

8 Serge Gruzinski, Les quatre parties du monde: Histoire d’une mondalisation (Paris: Les éditions de la Martinière, 2004).

9 Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II, 2 vols, 2nd rev. edn, trans. Sian Reynolds (Berkeley: University of California Press, 1973).

10 Thomas DaCosta Kaufmann, ‘Reflections on World Art History’, in Circulations in the Global History of Art, ed. Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel (London and New York: Routledge, 2016), 23–45.

11 Thomas DaCosta Kaufmann, ‘Japanese Export Lacquer and Global Art History: An Art of Mediation in Circulation’, in Art, Trade and Cultural Mediation in Asia, 1600–1950, ed. Raquel A.G. Reyes (London: Palgrave Macmillan, 2019), 13–42.

12 Thomas DaCosta Kaufmann, Toward a Geography of Art (Chicago: Chicago University Press, 2004).

13 Sheldon Pollock, ‘Cosmopolitan and Vernacular in History’, Public Culture 12, no. 3 (2000): 625.

14 A letter of 1627 cited in Horacio de la Costa, sj, The Jesuits in the Philippines 1581–1768 (Cambridge, Mass.: Harvard University Press, 1961), 347.

15 Regaldo Trota Jose, Simbahan: Church Art in Colonial Philippines 1565–1891 (Metro Manila: Ayala Museum, 1991), 72.

16 Ibid., 71.

17 Ibid., 117–29.

18 Susan Verdi Webster, Art and Ritual in Golden Age Spain (Princeton, NJ: Princeton University Press, 1998), 57–110.

19 Bryan Christy, ‘Ivory Worship’, National Geographic 222, no. 4 (2012): 28–61.

20 Jose, Images of Faith, 22; Jose, Simbahan, 124–26.

21 Jose, Images of Faith, 33–34.

22 Diego Aduarte, Historia de la provincia del Sancto Rosario de la Orden de Predicadores en Philippinas, Iapon y China … (Manila: en el Colegio de Sa[n]cto Thomas, por Luis Beltran impressor …, 1640), 34.

23 Jose, Images of Faith, 17.

24 Margarita Estella Marcos, ‘Ivory Art in the Time of the Viceroyalty: The Hispano-Philippine School’, in Las artes del nuevo mundo (Madrid: Coll & Cortès, 2011), 189.

25 Gauvin Alexander Bailey, Art on the Jesuit Missions in Asia and Latin America, 1542–1773 (Toronto: University of Toronto Press, 1999), 27.

26 ‘un Sangley, ò Chino’. Aduarte, Historia de la provincia del Sancto Rosario, 34.

27 Margarita Estella Marcos, La escultura barroca de marfil en España, vol. 1 (Madrid: Consejo Superior de Investigaciones Científicas, Instituto Diego Velázquez, 1984), 47.

28 Chong, ‘Christian Ivories by Chinese Artists’, 205.

29 Timothy Brook, The Confusions of Pleasure: Commerce and Culture in Ming China (Berkeley: University of California Press, 1998), 205–06.

30 Jose and Villegas, Power. Faith. Image, 22.

31 Lourdes Diaz-Trechuelo, ‘The Role of the Chinese in the Philippine Domestic Economy (1570–1770)’, in The Chinese in the Philippines 1570–1770, vol. 1, ed. Alfonso Felix (Manila: Solidaridad, 1966), 175–210; and Marjorie Trusted, ‘Propaganda and Luxury: Small-scale Baroque Sculptures in Vice-regal America and the Philippines’, in Asia and Spanish America: Trans-Pacific Artistic and Cultural Exchange, 1500–1850, ed. Donna Pierce and Ronald Otsuka (Denver: Denver Art Museum, 2009), 152.

32 Cited in Chong, ‘Christian Ivories by Chinese Artists’, 204.

33 Gauvin Alexander Bailey, ‘Religious Orders and the Arts of Asia’, in Made in the Americas: The New World Discovers Asia, ed. Denis Carr (Boston: MFA Publications, 2016), 93.

34 Gauvin Alexander Bailey, ‘Asia in the Arts of Colonial Latin America’, in The Arts in Latin America 1492–1820, ed. Joseph J Rishel (New Haven and London: Yale University Press, 2006), 58; and Marcos, ‘Ivory Art in the Time of the Viceroyalty’, 181–84.

35 Etsuko Miyata Rodriguez, ‘The Manila Galleon Trade: Merchants’ Networks and Markets in Sixteenth- and Seventeenth-century Mexico’, in Asia and Spanish America, ed. Pierce and Otsuku, 42–43.

36 Diego Valadés, Rhetorica Christiana (Perugia, 1579), 107, 111.

37 Bailey, ‘Religious Orders and the Arts of Asia’, 97.

38 Chong, ‘Christian Ivories by Chinese Artists’, 205.

39 Elisa Vargoslugo, ‘La pintura de econchados’, in Mexico en el mundo de las colecciones de arte, vol. 4 (Mexico City: El Gobieno De La Republica, 1994), 121. On the ethnonym chinos see Edward R. Slack Jr, ‘The Chinos in New Spain: A Corrective Lens for a Distorted Image’, Journal of World History 20, no. 1 (2009): 35–67.

40 Bailey, ‘Religious Orders and the Arts of Asia’, 93–94.

41 See Alan Chong, Christianity in Asia: Sacred Art and Visual Splendour (Singapore: Asian Civilisations Museum, 2016) for numerous examples.

42 For example, Jessica Keating and Lia Markey, “‘Indian Objects in Medici and Austrian-Habsburg inventories” a Case-study of the Sixteenth-Century Term’, Journal of the History of Collections 23, no. 2 (2011): 283–300.

43 Bailey, ‘Religious Orders and the Arts of Asia’, 91–109.

44 See, for example, Christian J.A. Jörg, Porcelain and the Dutch China Trade, trans. Patricia Wardle (The Hague: M. Nijhoff, 1982); and Thomas DaCosta Kaufmann, ‘Scratching the Surface: The Impact of the Dutch on Artistic and Material Culture in Taiwan and China’, in Mediating Netherlandish Art and Material Culture in Asia, ed. Thomas DaCosta Kaufmann and Michael North (Amsterdam: Amsterdam University Press, 2014), 218–19.

45 Cheng-Hua Wang, ‘Whither Art History? A Global Perspective on Eighteenth-Century Chinese Art and Visual Culture’, The Art Bulletin 96 (2014): 379–94.

46 Thomas DaCosta Kaufmann, ‘Ranges of Response: Asian Appropriation of European Art and Culture’, in The Globalization of Renaissance Art: A Critical Review, ed. Daniel Savoy (Leiden: Brill, 2017), 95–127.

47 Thomas DaCosta Kaufmann, ‘Interpreting Cultural Transfer and the Consequences of Markets and Exchange: Reconsidering Fumi-e’, in Artistic and Cultural Exchanges between Europe and Asia, 1400–1900: Rethinking Markets, Workshops and Collections, ed. Michael North (Farnham, Surrey: Ashgate, 2010), 135–61.

48 DaCosta Kaufmann problematises the assumption that the influence of Flemish artworks and artistic models across the territories of the Spanish global empire was a simple function of the fact that the Southern Netherlands remained under Spanish Habsburg rule until the early eighteenth century, when their government passed to Austria. DaCosta Kaufmann demonstrates that Flemish art was also highly influential outside of Spanish-dominated territories, including, for example, the Baltic littoral of Europe. The adoption of Flemish models by American and Asian artists cannot, therefore, be classified simply as hegemonic European power working on ‘subject’ peoples; non-European agency in such interactions was crucial. Thomas DaCosta Kaufmann, ‘Painting of the Kingdoms: A Global View of the Cultural Field’, in Pintura de los Reinos, ed. Juana Guitierrez (Mexico City: Fomento Cultural Banamex, 2010), 87–135.

49 Cinta Krahe, Chinese Porcelain in Habsburg Spain (Madrid: Centro de Estudios Europa Hispánica, 2016).

50 Almudena Pérez de Tudela and Annemarie Jordan Gschwend, ‘Luxury Goods for Royal Collectors: Exotica, Princely Gifts and Rare Animals Exchanged Between the Iberian Courts and Central Europe’, Jahrbuch der Kunsthistorischen Sammlungen in Wien 3 (2001): 1–149.

51 Annemarie Jordan Gschwend and Almudena Pérez de Tudela, ‘Exotica Habsburgica. La casa de Austria y las colecciones exóticas en el renacimiento temprano’, in Oriente en Palacio. Tesoros asiáticos en las colecciones reales españolas (Madrid: Patrimonio Nacional, 2003), 27–38; Annemarie Jordan Gschwend, ‘O Fascínio de Cipango. Artes Decorativas e Lacas de Ásia Oriental em Portugal, Espanha e Áustria (1511–1598)’, in O Construtores do Oriente Português (Lisbon: Edifício da Alfândega, 1998), 215.

52 Jordan Gschwend and Pérez de Tudela, ‘Exotica Habsburgica’, 32.

53 Ibid.

54 W. Grosshaupt, ‘Commercial Relations between the Merchants of Augsburg and Nuremberg’, in La Découverte, Le Portugal et l’Europe. Actes du colloque. Paris, les 26, 27 and 28 mai 1988 (Paris: Fondation Calouste Gulbenkian, 1990), 369–97.

55 Georg Dehio and Peter Aichinger-Rosenberger, eds, Niederösterreich südlich der Donau (Handbuch der Kunstdenkmäler Östrerreichs), vol. 2 (Vienna: Verlag Berger, 2003).

56 John P. Spielman, Leopold I of Austria (New Brunswick, NJ: Rutgers University Press, 1977); Oswald Redlich, Weltmacht des Barock: Österreich in der Zeit Kaiser Leopolds I, 4th edn (Vienna: Rohrer Verlag, 1961); and R.J.W. Evans, The Making of the Habsburg Monarchy (Oxford: Clarendon Press, 1984), chapter 4.

57 Andrea Sommer Mathis, ‘Maria Anna de Austria’, in Nur die Frau des Kaisers?: Kaiserinnen in der Frühen Neuzeit, ed. Bettina Braun, Katrin Keller, and Matthias Schnettge (Vienna: Boehlau Verlag, 2016), 148–49.

58 See, for example, Keating and Markey, ‘“Indian’ Objects in Medici and Austrian-Habsburg inventories”’, 295.

59 Jessica Keating, ‘Metamorphosis at the Mughal Court’, in Objects in Motion in the Early Modern World, ed. Daniela Bleichmar and Meredith Martin (Oxford: Wiley Blackwell, 2016), 137–51.

60 Sheldon Pollock, ‘The Sanskrit Cosmopolis, 300–1300: Transculturation, Vernacularisation and the Question of Ideology’, in Ideology and Status of Sanskrit: Contributions to the History of the Sanskrit Language, ed. Jan Houben (Leiden: Brill, 1996), 246.