ABOUT THE WORK

by FLOY QUINTOS While the owners of these two fine pieces considered them a tableaux of the Holy Family, they are in fact, two distinct and separate pieces. The solo figure depicts a youthful Mary as the immaculate Conception standing on a base of clouds . The other is an image of St. Joseph cradling the infant Jesus, a variation of the “Patrocinio de San Jose” or Fatherhood of Saint Joseph. The Joseph stands on a plain circular base. Remarkable for their size and the pristine quality of the ivory as well as for the preservation of the gold leaf stencil work, the two are also linked by sculptural similarities. Undoubtedly, they are by the same hand or from the same atelier. Opinions on the origin of these pieces are mixed. One prominent Santo scholar is of the opinion that the style and characteristics point to an Indo-Portuguese/Goanese origin. However, late Martin “Sonny” Tinio, scholar and connoisseur of Philippine Colonial Art was of the opinion that these two fine ivories are undoubtedly Filipino in origin.