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Everything Is Timing,” Says Richard Huber, Recalling Oppor South America’s epic past unfolds in the townhouse verything is timing,” says Richard Huber, recalling oppor- Fig. 1. The Hubers redesigned their Manhattan town house to accommodate large works of art. tunities spotted and seized over a long career that took him High on one dining room wall hang the Tri- of Roberta and umph of Saint Michael the Archangel, possibly and his wife, Roberta, around the world. On a gamble, they Cuzco, Peru, late seventeenth or eighteenth cen- E tury; and King Luis I of Spain on Horseback Richard Huber, invested in vineyards in Chile, an icebreaker in Antarctica, even an (Fig. 4). Below them (partially visible) are emerald mine in Minas Gerais, Brazil. A twenty-five-thousand-acre History of the Advent of Christ: Drunkenness whose collection and Wantonness, Bolivian, seventeenth or cattle ranch in the Brazilian outback served as a family retreat. “It took eighteenth century, and, in front of it an will be featured eleven hours to get there by plane, truck and river boat from São eighteenth-century Annunciation from Peru. The mid-eighteenth-century cabinet inlaid Paulo. Running water was dicey. Oh, it was primitive but I loved it with mother-of-pearl, tortoiseshell, ivory, and in a forthcoming silver, is from Lima, Peru. Photograph by for my children,” Roberta says. James Ray Spahn. exhibition at the A similarly intrepid spirit marks the couple’s approach to collect- Fig. 2. Saint Augustine, Lux Doctorem, South American, perhaps Bolivia, late eighteenth cen- ing. Over four decades, with more pluck and imagination than Philadelphia tury. Reverse painting on glass, 13 by 11 ½ formal guidance, the Hubers assembled one of this country’s major inches. Photograph by Graydon Wood. private collections of Spanish and Portuguese colonial paintings, Fig. 3. The Good Shepherd, Ceylon-Portuguese, Museum of Art seventeenth century. Ivory with polychromy; sculpture, and silver, much of it made in the South American vice- height 2 ¼, length 11 inches. Wood photograph. royalties of Peru and Rio de la Plata prior to 1820. Timing, as Richard says, is everything. Eager to redress past oversights in their collections and pres- ent a more balanced view of cultural influences in the New World, American museums are driving the growing interest in Latin American art. Artand devotionBy Laura Beach Living with antiques recalls. Dating to the late eighteenth century and still in a field where specialist dealers are few. Facing page: housed in its original frame, the work, possibly by a In 2003 the Hubers and their Portuguese- Fig. 4. Portrait of King Luis skillful amateur, depicts Saint Augustine in the com- speaking parrot, Rosa, settled into life in a reno- I of Spain [r. 1724] on pany of other theologians (Fig. 2). vated Manhattan brownstone. Exuberantly furnished Horseback, possibly Cuzco, Like the explorer Alexander von Humboldt with jewel-toned oriental rugs and plush nineteenth- c. 1724. Oil on canvas, (1769–1859), who documented every detail of his century seating furniture, the quarters accommo- 79 ½ by 61 inches. Prom- travels in Latin America between 1799 and 1804, the date amply proportioned paintings and sculpture. ised gift of the Roberta Hubers have created a pictorial record of their South Grapevines drape a cloistered patio, a daily re- and Richard Huber Col- lection to the Philadelphia America sojourns. Reared in North Carolina and minder of the family’s Chilean vineyard, now Museum of Art; Wood educated at Harvard, Richard leapt at the opportu- managed by their second son, Alex. photograph. nity to work in Buenos Aires, where the Bank of hese are massive, ambitious things,” Boston transferred him in 1962. After a brief return Rishel says of the collection, citing the Fig. 5. Rest on the Flight to Boston, the family moved to São Paulo in 1967. nearly seven-by- five-foot oil on canvas Into Egypt, Bolivian, eigh- “T teenth century. Oil on can- “I couldn’t wait to get back to South America,” says portrait of Spanish King Luis I on horseback, vas, 32 by 69 ¾ inches. Roberta, a petite, Massachusetts-born blonde whose probably painted in Cuzco, Peru around 1724 (Fig. Wood photograph. energetic pace matches that of her husband. Richard’s 4), “but they are also very human.” Two eighteenth- career later took them to Rio de Janeiro, Tokyo, New century Bolivian paintings, Rest on the Flight into This page: York, Chicago, and Hartford, where he retired as Egypt (Fig. 5) and The House at Nazareth, illustrate Fig. 6. Portrait of Rosa de Aetna’s chief executive in 2000. a distinctly South American fondness for scenes Salazar y Gabiño, Countess In each city Roberta immersed herself in depicting the holy family engaged in cozy domes- of Monteblanco and Mon- classes and local arts organizations. She met Rishel tic pastimes.“We surrounded ourselves with temar [1749–1810], Lima, at a birthday party in Hartford for Peter C. Sut- pieces with which we wanted to live. The collec- c. 1764–1771. Oil on can- vas, 37 ¾ by 29 ¾ inches. ton, then director of the Wadsworth Atheneum tion—it was years before we thought of it that Wood photograph. Museum of Art. In Manhattan, studies at New way—grew naturally over time,” says Richard. York university’s Institute of Fine Arts led to “Through travel, we became intrigued with the Fig. 7. A Virgin Martyr, friendships with Jonathan Brown and Edward J. history of South America, which only deepened our possibly La Paz, Bolivia, Sullivan, noted scholars of Spanish and Latin interest in the art,” Roberta explains. Silver mined late seventeenth or eigh- teenth century. Oil on can- American art. The Hubers underwrite the institute’s in Potosí (now in Bolivia), the largest city in the vas, 63 by 44 ⅛ inches. Colloquium on Spanish and Latin American Art Western Hemisphere in the first half of the seven- Wood photograph. and Visual Culture. Additionally, Roberta is an teenth century, fueled an artistic explosion that advisor to the Hispanic Society of America. Such spread from the Andes to Spain. In the Altiplano it alliances have helped the couple develop expertise produced paintings that mingled European precedent, Eager to redress past oversights American museums are driving the growing interest in Latin American Art “The 1990s marked a new golden age for the field, with several very informative shows that brought colonial art to a wider audience,” says Joseph J. Rishel, the Philadelphia Museum of Art’s curator of Euro- pean painting before 1900, who organized the 2006 traveling exhibition The Arts in Latin America, 1492–1820 and is supervising the museum’s forth- coming show of the Huber collection. The Hubers’ first purchase, in 1973, foreshadowed the adventure to come. “We were visiting Sucre, Bolivia, and heard about a woman with a colonial era reverse painting on glass for sale. We went to her house that evening and bought it for $100,” Richard 26 Antiques NOVEMBER/DECEMBER 2012 26 of- transmitted via Flemish prints, with pre-conquest the Christ Child (Fig. 9) and a Pietà of about 1720 ten Andean traditions.“What we might perceive as (see Fig. 11) whose elongated forms reflect manner- naïve charm is often a translation of pre-Hispanic ist influence. forms, colors and patterns to Spanish subjects and So-called “dressed sculpture” paintings of the scenes,” says Edward Sullivan, professor of art his- Virgin Mary have a frothy, wedding-cake appeal. tory at New York university. In the most beguiling examples, artists, using a he cultural confluence is evident inA Virgin technique called brocateado, applied a filigree of Martyr, a late seventeenth- or early eighteenth- gold paint or gold leaf over pigment to simulate T century Bolivian oil on canvas (Fig. 7). The the appearance of sumptuous fabric (Fig. 12). artist, possibly from La Paz, depicted the popular “After we moved back to New York, I became in- seventeenth-century Spanish subject wearing a Eu- volved in the exhibition Potosí: Colonial Treasures and Facing page: Fig. 8. Saint John of Nepomuk by “What we may perceive as naive charm is often a translation of pre- Gaspar Miguel de Berrío (1706– Hispanic forms, colors, and patterns to Spanish subjects and scenes.” after 1764), Potosí, Bolivia, 1760. Oil on canvas, 40 ½ by 32 ¼ inches. Wood photograph. This page: ropean blouse and a skirt of distinctly Incan weave. the Bolivian City of Silver at the Americas Society. I Suzanne Stratton-Pruitt, editor of a forthcoming learned so much, especially about silver, from co- Fig. 9. Saint Joseph and the Christ catalogue of the Huber collection, speculates that the curator Pedro querejazu,” says Roberta. The more Child by Melchor Pérez Holguín (c. 1665–after 1724), Potosí, ear- painting may have been made for an affluent native than three dozen pieces of silver in the collection ly eighteenth century. Oil on can- family. range from frames and plaques with repoussé sur- vas, 13 by 15 ¾ inches. Wood Few colonial South American paintings are signed faces fecund with animal and plant life to chastely photograph. and dated. Exceptions include two lively narrative- unadorned bowls. The variety of forms—from a driven oils by the Bolivian artist Gaspar Miguel de baptismal basin and votive lamp to slave amulets, a Fig. 10. On one wall of the dining room Our Lady of Guápulo of c. Berrio (1706–after 1764) that date to 1760 and box for coca leaves, and a water bucket—suggest wide 1680, Cuzco, hangs above a 1764 (Figs. 8,17). Latin inscriptions hint that they access to the abundant metal along with its ener- wooden chest from Brazil, 1750– were intended for an educated audience. Considered getic use by a Catholic Church intent on making 1800.
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