GENERAL DESCRIPTION
This exuberant baroque-style mahogany cabinet, adorned with floral marquetry or geometric inlay on all the doors and compartments, is composed of thousands of intricately shaped bits of mother of pearl and tortoise shell along with ivory. The luxurious materials testify to the wealth and political importance of Latin America in the 17th century Iberian global empire. The original owner of the cabinet appears to have been Don Melchor Portocarrero, third count of Monclova and viceroy of New Spain (1686–88), who subsequently became viceroy of Peru (1689–1715). It is likely that the count commissioned the piece during his tenure as viceroy. Probably made in the Portuguese settlement of Goa, India, the cabinet crossed the Indian Ocean to Manila, in the Spanish Philippines. Finally, the cabinet crossed the Pacific to arrive in New Spain's capital, Mexico City. Set within the mother-of-pearl double-headed eagle crest symbolizing Spain's Habsburg dynasty is the painted coat of arms for Peru's Tagle family, who inherited the monumental piece in the late 18th century.
These imported materials are characteristic of luxury 17th-century Limeño furniture, especially that produced in Goa. These designs cover cabinet doors that open to reveal shelves, drawers, and even a dome richly veneered with tortoise shell, mother-of-pearl, ebony, mahogany, metals, and ivory. The interior, which adds materials from the earth to those from the sea, glories in geometric forms. These geometric patterns have double origins: Moorish techniques common in pre-Christian Spain and colonial marquetry from Goa. When these doors were opened, the owners could display their holdings of small sculpture, natural specimens, or other collections of intriguing and highly precious objects.
Adapted from
- Bonnie Pitman, ed. "Cabinet" in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 159.
- Kevin W. Tucker, Label text, 2006.
- Charles Venable, "Cabinet," in Dallas Museum of Art: A Guide to the Collection, ed. Charles Venable (New Haven, NJ: Yale University Press, 1997), 204.
NOTES
Michelle Rich reviewed and approved this content, 12/17/18. (CLC).
I took content from all of the following sources (CLC, 11/28/18):
This exuberant baroque-style cabinet, adorned with floral marquetry or geometric inlay on all the doors and compartments, is composed of thousands of intricately shaped bits of mother-of-pearl and tortoise-shell along with ivory. The luxurious materials testify to the wealth and political importance of Latin America in the 17th century Iberian global empire. Probably made in the Portuguese settlement of Goa, India, the cabinet crossed the Indian Ocean to Manila and then the Pacific to arrive finally in New Spain's capital, Mexico City. The original owner appears to have been Don Melchor Portocarrero, third count of Monclova and viceroy of New Spain (1686–88), who subsequently became viceroy of Peru (1689–1715). Set within the mother-of-pearl double-headed eagle crest symbolizing Spain's Habsburg dynasty is the painted coat of arms of Peru's Tagle family, who inherited the monumental piece in the late 18th century.
Excerpt from: Bonnie Pitman, ed. "Cabinet" in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 159.
The brilliant decoration of this immense cabinet is made of thousands of small, elaborately cut pieces of mother-of-pearl and tortoiseshell, arranged in patterns suggesting flowers and vegetation. This kind of marquetry-thin decorative panels of assembled wood veneers and other imported materials is characteristic of luxery 17th-century Limeño furniture, especially that of the Portuguese colony of Gôa in India, where this cabinet was created. The cabinet doors conceal shelves, drawers, and assorted compartments for storage. When these doors were opened, the owners could display their holdings of small sculpture, natural specimens, or other collections of intriguing and highly precious objects.
Once completed, the cabinet was likely shipped to one of the major trade centers frequented by Peruvian merchants in Mexico, such as Mexico City or Acapulco. Its first owner was Don Melchor Portocarrero, 3rd Count of Monclova, who was Viceroy of Peru from 1689 until 1715.
Kevin W. Tucker, Label copy, 2006.
This masterpiece of colonial cabinetry is truly a global object. Its form and the designs of its remarkable marquetry derive from European, especially Spanish, prototypes. Yet, it was most probably made in the Philippines for a powerful ruler of New Spain who lived in Mexico City. Its first owner was Don Melchor Portocarrero, 3rd Count of Monclava, Viceroy of New Spain from 1686 until 1688, and Viceroy of Peru from 1689 until 1715. It is likely that the piece was commissioned by the count during his tenure as viceroy. At the time, the Philippines were Spanish colonies ruled from Mexico City, and the craftsmen in that Asian colonial city were both Europeans and Asians who created objects for Europe and New Spain.
Virtually the entire surface of this resplendent cabinet is covered with precious material from the sea. Its shimmering mother-of-pearl and tortoise shell surface is composed of thousands of carefully cut pieces that form elaborate designs representing flowers and vegetation. These designs cover cabinet doors that open to reveal shelves, drawers, and even a dome richly veneered with tortoise shell, mother-of-pearl, ebony, mahogany, metals, and ivory. The interior, which adds materials from the earth to those from the sea, glories in geometric forms. These geometric patterns have double origins: Moorish techniques common in pre-Christian Spain and contemporary marquetry from the Portuguese colony of Goa in India.
The painted coat of arms framed within a double-headed eagle is that of the Tagle family of Peru, which inherited the cabinet in the late eighteenth century.
Charles Venable, "Dallas Museum of Art: A Guide to the Collection," page 204 (1997 guide).
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
c. 1686-1705: Don Melchor Portocarrero y Laso de la Vega (1636-1705), 3rd Condé de la Monclova, 29th Virrey de la Nueva España, later 17th Virrey del Peru, Lima
n.d.: Felipe Portocarrero, by inheritance
From 1768: his daughter, Dona Josefa de Portocarrero y Zamudio and her husband, Don José Manuel Tagle e Isásaga, 3rd Marqués de Torre-Tagle, gift on the occasion of their wedding [1] [2]
Until d. 1825: their son, Don José Bernardo de Tagle y Portocarrero (1779-1825), 4th Marqués de Torre-Tagle and 2nd Presidente de la República de Peru, by inheritance
As of 1965: Collection of Celedonio Pereda [3]
From 1993: Dallas Museum of Art, gift of the Eugene McDermott Foundation, in honor of Carol and Richard Brettell, purchased at auction, Sotheby's New York, "Fine French Furniture," Sale Number 6361, May 21, 1992, lot number 79. [4]
The main source for this provenance is the Sotheby's New York catalogue, "Important French and Continental Furniture," Thursday, May 21, 1992, cat. no. 79.
[1] See Gustavo Curiel, "Mostrador Limeño," Imágenes: Revista Electrónica del Instituto de Investigaciones Estéticas, February 5, 2009.
[2] See also the correspondence between Jorge Tagle, Consul General of Chile, Olivier Meslay of the Dallas Museum of Art, and Heather MacDonald of the Dallas Museum of Art, dated February 28 - March 15, 2016, copy in Dallas Museum of Art Collections Records object file.
[3] Andrew Ciechanowiecki, “Spain and Portugal,” in World Furniture: An Illustrated History, ed. Helena Hayward (New York: McGraw-Hill Book Company, 1965), 106, fig. 371. Ciechanowiecki lists the collection of Celedonio Pereda, Lima, as the location of the cabinet. However, initial research on Celedonio Pereda points to Celedonio Tomás Pereda (1860-1941), who resided in Buenos Aires rather than Lima.
[4] See invoice from Sotheby's dated May 21, 1992, copy in object file.
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WEB RESOURCES
- New World Encyclopedia~Learn more about Portugal's colonization of various coastal cities in India.
- National Institute of History and Anthropology, Mexico~See a portrait of Melchor Portocarrero y Laso de la Vega, likely the cabinet's first owner.
- The Metropolitan Museum of Art~Read more about The Manila Galleon Trade (1565–1815).
- The Metropolitan Museum of Art~Read more about Arts of the Spanish Americas, 1550–1850.
- The Metropolitan Museum of Art~Read more about Mexico, 1400–1600 C.E.
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General Description
This exuberant baroque-style mahogany cabinet, adorned with floral marquetry or geometric inlay on all the doors and compartments, is composed of thousands of intricately shaped bits of mother of pearl and tortoise shell along with ivory. The luxurious materials testify to the wealth and political importance of Latin America in the 17th century Iberian global empire. The original owner of the cabinet appears to have been Don Melchor Portocarrero, third count of Monclova and viceroy of New Spain (1686–88), who subsequently became viceroy of Peru (1689–1715). It is likely that the count commissioned the piece during his tenure as viceroy. Probably made in the Portuguese settlement of Goa, India, the cabinet crossed the Indian Ocean to Manila, in the Spanish Philippines. Finally, the cabinet crossed the Pacific to arrive in New Spain's capital, Mexico City. Set within the mother-of-pearl double-headed eagle crest symbolizing Spain's Habsburg dynasty is the painted coat of arms for Peru's Tagle family, who inherited the monumental piece in the late 18th century.
These imported materials are characteristic of luxury 17th-century Limeño furniture, especially that produced in Goa. These designs cover cabinet doors that open to reveal shelves, drawers, and even a dome richly veneered with tortoise shell, mother-of-pearl, ebony, mahogany, metals, and ivory. The interior, which adds materials from the earth to those from the sea, glories in geometric forms. These geometric patterns have double origins: Moorish techniques common in pre-Christian Spain and colonial marquetry from Goa. When these doors were opened, the owners could display their holdings of small sculpture, natural specimens, or other collections of intriguing and highly precious objects.
Adapted from
- Bonnie Pitman, ed. "Cabinet" in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 159.
- Kevin W. Tucker, Label text, 2006.
- Charles Venable, "Cabinet," in Dallas Museum of Art: A Guide to the Collection, ed. Charles Venable (New Haven, NJ: Yale University Press, 1997), 204.
Fun Facts
Archival Resources
Web Resources
- New World Encyclopedia~Learn more about Portugal's colonization of various coastal cities in India.
- National Institute of History and Anthropology, Mexico~See a portrait of Melchor Portocarrero y Laso de la Vega, likely the cabinet's first owner.
- The Metropolitan Museum of Art~Read more about The Manila Galleon Trade (1565–1815).
- The Metropolitan Museum of Art~Read more about Arts of the Spanish Americas, 1550–1850.
- The Metropolitan Museum of Art~Read more about Mexico, 1400–1600 C.E.
Notes
Michelle Rich reviewed and approved this content, 12/17/18. (CLC).
I took content from all of the following sources (CLC, 11/28/18):
This exuberant baroque-style cabinet, adorned with floral marquetry or geometric inlay on all the doors and compartments, is composed of thousands of intricately shaped bits of mother-of-pearl and tortoise-shell along with ivory. The luxurious materials testify to the wealth and political importance of Latin America in the 17th century Iberian global empire. Probably made in the Portuguese settlement of Goa, India, the cabinet crossed the Indian Ocean to Manila and then the Pacific to arrive finally in New Spain's capital, Mexico City. The original owner appears to have been Don Melchor Portocarrero, third count of Monclova and viceroy of New Spain (1686–88), who subsequently became viceroy of Peru (1689–1715). Set within the mother-of-pearl double-headed eagle crest symbolizing Spain's Habsburg dynasty is the painted coat of arms of Peru's Tagle family, who inherited the monumental piece in the late 18th century.
Excerpt from: Bonnie Pitman, ed. "Cabinet" in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 159.
The brilliant decoration of this immense cabinet is made of thousands of small, elaborately cut pieces of mother-of-pearl and tortoiseshell, arranged in patterns suggesting flowers and vegetation. This kind of marquetry-thin decorative panels of assembled wood veneers and other imported materials is characteristic of luxery 17th-century Limeño furniture, especially that of the Portuguese colony of Gôa in India, where this cabinet was created. The cabinet doors conceal shelves, drawers, and assorted compartments for storage. When these doors were opened, the owners could display their holdings of small sculpture, natural specimens, or other collections of intriguing and highly precious objects.
Once completed, the cabinet was likely shipped to one of the major trade centers frequented by Peruvian merchants in Mexico, such as Mexico City or Acapulco. Its first owner was Don Melchor Portocarrero, 3rd Count of Monclova, who was Viceroy of Peru from 1689 until 1715.
Kevin W. Tucker, Label copy, 2006.
This masterpiece of colonial cabinetry is truly a global object. Its form and the designs of its remarkable marquetry derive from European, especially Spanish, prototypes. Yet, it was most probably made in the Philippines for a powerful ruler of New Spain who lived in Mexico City. Its first owner was Don Melchor Portocarrero, 3rd Count of Monclava, Viceroy of New Spain from 1686 until 1688, and Viceroy of Peru from 1689 until 1715. It is likely that the piece was commissioned by the count during his tenure as viceroy. At the time, the Philippines were Spanish colonies ruled from Mexico City, and the craftsmen in that Asian colonial city were both Europeans and Asians who created objects for Europe and New Spain.
Virtually the entire surface of this resplendent cabinet is covered with precious material from the sea. Its shimmering mother-of-pearl and tortoise shell surface is composed of thousands of carefully cut pieces that form elaborate designs representing flowers and vegetation. These designs cover cabinet doors that open to reveal shelves, drawers, and even a dome richly veneered with tortoise shell, mother-of-pearl, ebony, mahogany, metals, and ivory. The interior, which adds materials from the earth to those from the sea, glories in geometric forms. These geometric patterns have double origins: Moorish techniques common in pre-Christian Spain and contemporary marquetry from the Portuguese colony of Goa in India.
The painted coat of arms framed within a double-headed eagle is that of the Tagle family of Peru, which inherited the cabinet in the late eighteenth century.
Charles Venable, "Dallas Museum of Art: A Guide to the Collection," page 204 (1997 guide).
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
c. 1686-1705: Don Melchor Portocarrero y Laso de la Vega (1636-1705), 3rd Condé de la Monclova, 29th Virrey de la Nueva España, later 17th Virrey del Peru, Lima
n.d.: Felipe Portocarrero, by inheritance
From 1768: his daughter, Dona Josefa de Portocarrero y Zamudio and her husband, Don José Manuel Tagle e Isásaga, 3rd Marqués de Torre-Tagle, gift on the occasion of their wedding [1] [2]
Until d. 1825: their son, Don José Bernardo de Tagle y Portocarrero (1779-1825), 4th Marqués de Torre-Tagle and 2nd Presidente de la República de Peru, by inheritance
As of 1965: Collection of Celedonio Pereda [3]
From 1993: Dallas Museum of Art, gift of the Eugene McDermott Foundation, in honor of Carol and Richard Brettell, purchased at auction, Sotheby's New York, "Fine French Furniture," Sale Number 6361, May 21, 1992, lot number 79. [4]
The main source for this provenance is the Sotheby's New York catalogue, "Important French and Continental Furniture," Thursday, May 21, 1992, cat. no. 79.
[1] See Gustavo Curiel, "Mostrador Limeño," Imágenes: Revista Electrónica del Instituto de Investigaciones Estéticas, February 5, 2009.
[2] See also the correspondence between Jorge Tagle, Consul General of Chile, Olivier Meslay of the Dallas Museum of Art, and Heather MacDonald of the Dallas Museum of Art, dated February 28 - March 15, 2016, copy in Dallas Museum of Art Collections Records object file.
[3] Andrew Ciechanowiecki, “Spain and Portugal,” in World Furniture: An Illustrated History, ed. Helena Hayward (New York: McGraw-Hill Book Company, 1965), 106, fig. 371. Ciechanowiecki lists the collection of Celedonio Pereda, Lima, as the location of the cabinet. However, initial research on Celedonio Pereda points to Celedonio Tomás Pereda (1860-1941), who resided in Buenos Aires rather than Lima.
[4] See invoice from Sotheby's dated May 21, 1992, copy in object file.
AUDIO ASSETS
Smartphone audio about Goa craftsmen
264294529: UMO
Audio tour stop: Goa Cabinet
264294758: UMO
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