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Einsiedeln: Charles and Nicholas Benziger; Prague: I.F. Marouschek, J. Pashmeyer; Ufer: N. Kremplsetzer, [ca. 1850]. Single cards (4 1/2"x 3 1/2", 116mm x 86mm): 66 hand-colored lithographed cards, each with a flower-emblem tipped in to conceal the saint beneath. Each lithograph tipped on to a piece of colored cardstock, and all but 1 with added gilt-foil strips as borders either above-and-below or on all four sides. Presented in acetate sleeves on cardstock, 2-6 per leaf; some mounted directly and others loose in their sleeves. Presented in a tan cloth clam-shell box. Occasional tears to some of the cards, especially at the hinge of the flower emblems. Occasional soiling and foxing. Saint's cards, also known as holy cards, have a rich history deeply rooted in the traditions of Christianity. They served as inexpensive and portable devotional aids, offering a tangible connection to revered figures in the Christian faith. The connection between botany and saints can be explored through the symbolism and legends associated with certain plants and flowers in Christian tradition, such as the association of lilies with the Virgin for purity. These two ideas can also be connected through the concept of stewardship of the Earth and creation, a theme emphasized in Christian teachings on environmental stewardship and care for the natural world. While botany and sainthood have been themes intertwined for centuries, these cards are unique for their aspect of pasted flowers which conceal the saints--a playful take on a symbolic and mystical item. Saints are often associated with particular flowers. The bloom time of certain flowers was often used by friars and monks as a natural calendar announcing the arrival of a particular time of worship. For example, the arrival of white snowdrops heralded Candlemas, the blooming of Madonna Lily and Our Lady's Smock announced the Annunciation, Greek anemone blossoms recalled the Passion, and Virgin's Bower the Assumption. The Virgin is associated with the iris, a symbol of her sorrow; its blue color also symbolizing truth, clarity, and heaven. Likewise, lilies represent virginity and, are thus associated with the Virgin as well. Later Christians adopted the palm as representative of martyrdom: St. Agnes, St. Thecla, and St. Sebastian are all martyred saints whose images are often represented holding a palm frond. Roses also hold significance: the Virgin is known as the "mystic rose" or the "rose without thorns," and St. Cecilia, the patron saint of musicians, is often shown alongside roses. In these cards, the intended relationship between botany and the saints is unclear; some of the flowers are directly relate to their saints, such as the Virgin and her lilies, while some may relate to feast days--for example, St. Mechtilde's card depicts an agapanthus, which blooms around the time of her feast day, November 19th. While 44 of these cards were printed in Prague, four were issued by the firm of Benziger in Einsiedeln, and two by N. Kremplsetzer in Ufer, one by W. Hoffman, and another 17 without imprint, indicating that these are of individual collection, and perhaps construction. In 1840 the Benziger publishing house was established, known for their Catholica, which are still published today. The Holy See bestowed Benziger the title "Printers to the Holy Apostolic See" in 1867, and "The Pontifical Institute of Christian Art" in 1888. Purchased from the Christie's New York sale of Helen Bent Barker, Harriet Bent Smith and Margaret Bent Knox (21 November 1986), lot 122. The three women were the daughters of Arthur Cleveland Bent (1866-1954), called by some the Audubon of the XXc. His magnum opus was the 26-volume Life Histories of North American Birds (doubtless a tribute to the Ornithological Biography, the text that accompanied Audubon's Birds of America). Presumably the property offered at auction by the sisters was that of their parents.
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