Marino Maximo Limaco Soto (Peruvian) Monumental Andean Colonial Church with Devotional Figures Master Quinua Ceramic Sculpture
This exceptional Andean Colonial Church with Devotional Figures is a completely original hand-built ceramic sculpture by distinguished Peruvian master artisan Marino Maximo Limaco Soto of Quinua, Ayacucho. Created entirely by hand in the celebrated ceramic tradition of Quinua, the work presents a richly modeled architectural scene inspired by the historic churches, religious devotion, and community life of the Peruvian Andes.
The composition is dominated by an imposing church facade crowned by a tall bell tower, sculpted cross, tiled roof, and a secondary tower rising above the central structure. Individually modeled roof tiles, arched windows, bells, decorative borders, and architectural details give the sculpture remarkable depth and character while preserving the unmistakable handmade quality associated with traditional Quinua pottery.
Arranged across the front of the church are six individually modeled Andean figures, each with distinctive facial expressions, clothing, and gestures. Their presence transforms the architectural sculpture into a narrative scene of community and devotion, recalling the important role that churches, religious celebrations, family traditions, and communal gathering continue to play throughout the highlands of Ayacucho.
The warm palette of natural terracotta, ivory, reddish brown, and white enhances the rustic architectural character of the work. Hand-applied decorative lines articulate the roof tiles, walls, windows, garments, and ornamental details, creating a harmonious visual rhythm across the entire composition.
Particularly striking is the tall bell tower at the left, culminating in a large sculpted cross and surrounded by carefully modeled roof elements. The bell visible within the tower, together with the open doorways and windows, gives the structure a convincing sense of architectural space despite its intimate sculptural scale.
Entirely formed, assembled, modeled, decorated, and finished by hand, this work demonstrates the artist's ability to transform clay into a complex architectural narrative. Every figure and structural component has been individually created, ensuring that the sculpture possesses the subtle variations and unique character of an authentic handmade work.
More than a decorative representation of a church, the sculpture celebrates the enduring relationship between Andean faith, architecture, community, and cultural memory. Its combination of architectural complexity, expressive human figures, traditional materials, and strong regional identity makes it an outstanding example of contemporary Quinua ceramic art.
ARTIST
Marino Maximo Limaco Soto is a master ceramist from Quinua, Ayacucho, Peru, one of the country's most historically important centers of traditional ceramic production. His original sculptures preserve the distinctive visual language of Quinua while exploring Andean architecture, religious traditions, community life, rural customs, and the people of the Peruvian highlands.
His work is distinguished by expressive hand-modeled figures, carefully constructed architectural forms, warm natural earth tones, and a strong narrative quality that transforms traditional ceramic techniques into individual sculptural compositions.
PROVENANCE
Acquired directly from the artist in Peru for Gallery Arts & Auctions Co.
AUTHENTICITY
This work is a completely original, individually hand-built creation by Marino Maximo Limaco Soto and was acquired directly from the artist in Peru.
A Certificate of Authenticity issued by the artist may be provided upon request, subject to availability.
MATERIALS AND TECHNIQUE
Traditional Quinua ceramic, individually modeled, assembled, decorated, and finished entirely by hand using natural clay and hand-applied painted details.
DIMENSIONS
Height: 13 1/4 in.
Length: 9 in.
Width: 4 1/2 in.
COLLECTION NOTE
Carefully selected directly from the artist in Peru by Gallery Arts & Auctions Co. as an exceptional example of contemporary Quinua ceramic sculpture. Distinguished by its elaborate church architecture, tall bell tower, individually modeled devotional figures, hand-built tiled roofs, and expressive representation of Andean community life, this original work embodies the extraordinary narrative character of the ceramic tradition of Quinua, Ayacucho.
Condition
Excellent overall condition. The architectural structure, bell tower, cross, roof tiles, sculpted figures, windows, decorative elements, and hand-painted surfaces appear beautifully preserved, with no visible significant structural damage or restorations. Minor irregularities, tonal variations, and surface characteristics are consistent with the entirely handmade nature of traditional Quinua ceramic and contribute to the individuality of this original work.
Estimate
Reserve
Time, Location
Auction House
This exceptional Andean Colonial Church with Devotional Figures is a completely original hand-built ceramic sculpture by distinguished Peruvian master artisan Marino Maximo Limaco Soto of Quinua, Ayacucho. Created entirely by hand in the celebrated ceramic tradition of Quinua, the work presents a richly modeled architectural scene inspired by the historic churches, religious devotion, and community life of the Peruvian Andes.
The composition is dominated by an imposing church facade crowned by a tall bell tower, sculpted cross, tiled roof, and a secondary tower rising above the central structure. Individually modeled roof tiles, arched windows, bells, decorative borders, and architectural details give the sculpture remarkable depth and character while preserving the unmistakable handmade quality associated with traditional Quinua pottery.
Arranged across the front of the church are six individually modeled Andean figures, each with distinctive facial expressions, clothing, and gestures. Their presence transforms the architectural sculpture into a narrative scene of community and devotion, recalling the important role that churches, religious celebrations, family traditions, and communal gathering continue to play throughout the highlands of Ayacucho.
The warm palette of natural terracotta, ivory, reddish brown, and white enhances the rustic architectural character of the work. Hand-applied decorative lines articulate the roof tiles, walls, windows, garments, and ornamental details, creating a harmonious visual rhythm across the entire composition.
Particularly striking is the tall bell tower at the left, culminating in a large sculpted cross and surrounded by carefully modeled roof elements. The bell visible within the tower, together with the open doorways and windows, gives the structure a convincing sense of architectural space despite its intimate sculptural scale.
Entirely formed, assembled, modeled, decorated, and finished by hand, this work demonstrates the artist's ability to transform clay into a complex architectural narrative. Every figure and structural component has been individually created, ensuring that the sculpture possesses the subtle variations and unique character of an authentic handmade work.
More than a decorative representation of a church, the sculpture celebrates the enduring relationship between Andean faith, architecture, community, and cultural memory. Its combination of architectural complexity, expressive human figures, traditional materials, and strong regional identity makes it an outstanding example of contemporary Quinua ceramic art.
ARTIST
Marino Maximo Limaco Soto is a master ceramist from Quinua, Ayacucho, Peru, one of the country's most historically important centers of traditional ceramic production. His original sculptures preserve the distinctive visual language of Quinua while exploring Andean architecture, religious traditions, community life, rural customs, and the people of the Peruvian highlands.
His work is distinguished by expressive hand-modeled figures, carefully constructed architectural forms, warm natural earth tones, and a strong narrative quality that transforms traditional ceramic techniques into individual sculptural compositions.
PROVENANCE
Acquired directly from the artist in Peru for Gallery Arts & Auctions Co.
AUTHENTICITY
This work is a completely original, individually hand-built creation by Marino Maximo Limaco Soto and was acquired directly from the artist in Peru.
A Certificate of Authenticity issued by the artist may be provided upon request, subject to availability.
MATERIALS AND TECHNIQUE
Traditional Quinua ceramic, individually modeled, assembled, decorated, and finished entirely by hand using natural clay and hand-applied painted details.
DIMENSIONS
Height: 13 1/4 in.
Length: 9 in.
Width: 4 1/2 in.
COLLECTION NOTE
Carefully selected directly from the artist in Peru by Gallery Arts & Auctions Co. as an exceptional example of contemporary Quinua ceramic sculpture. Distinguished by its elaborate church architecture, tall bell tower, individually modeled devotional figures, hand-built tiled roofs, and expressive representation of Andean community life, this original work embodies the extraordinary narrative character of the ceramic tradition of Quinua, Ayacucho.
Condition
Excellent overall condition. The architectural structure, bell tower, cross, roof tiles, sculpted figures, windows, decorative elements, and hand-painted surfaces appear beautifully preserved, with no visible significant structural damage or restorations. Minor irregularities, tonal variations, and surface characteristics are consistent with the entirely handmade nature of traditional Quinua ceramic and contribute to the individuality of this original work.
Estimate
Reserve
Time, Location
Auction House
