The exportation of Sevillian canvases to the Americas was of fundamental importance for the development of schools of painting in colonial Latin America. Despite the significance of this artistic commerce, no systematic study of the trade has ever been undertaken.' The present article examines the role of Juan de Luz6n in the export of paintings and interprets the development of this trade during the second half of the seventeenth century. Francisco de Zurbaran was the most famous painter to work extensively for the New World markets.2 Bartolome Murillo may even have traveled to the Americas before he began his Sevillian career.3 The third great painter of Baroque Seville, Juan de Vald6s Leal, supplied a series depicting the life of Saint Ignatius for a Peruvian church.4 However, the artists who were associated almost exclusively with the export of paintings are now forgotten and their present anonymity has obscured the importance of the New World markets for the artistic economy of Seville. These painters would produce large lots of pictures, at least ninety-nine, usually of the same dimensions and with themes that were popular in the Americas. The canvases were rolled up, packed in cases, and entrusted to an agent or ship's captain, who would be responsible for their sale at the best prices possible. The money thus realized would be returned to the artist in Seville with the next returning convoy. This entrepreneurial trade is completely different from the commission of works from Sevillian artists by New World patrons. The Sevillian painter Juan de Luz6n (1608-1662) worked exclusively for the New World markets. His oeuvre must have been enormous, even by contemporary standards. Yet despite his prolific activity, not a single painting is even attributed to him today, and his career has attracted no critical commentary. The paradox of great productivity and almost complete anonymity is a result of the complete involvement of Luz6n in the New World markets. The first notice of Luz6n is his certificate of examination as a painter by the Sevillian guild on May 17, 1634, in which he is identified as a native of Seville and twenty-six years old.5 A few years later, on February 28, 1637, the first reference is made to his wife, Dofia Ana de Vargas, whom he married at an unknown date.6 Nothing more is known of his life until the decade of the 1650's. On March 13, 1658, Luz6n empowered two men to act as his agents in collecting a debt due him in the Province of Tierra Firme for paintings sent there in 1653 (Document 1). The canvases had been packed in three cases and were identified as thirteen large pictures and 181 smaller ones. The large pictures were worth 160 reales apiece and the small pieces were worth forty-eight reales each, for a total value of 10,768 reales. To put this sum in perspective, Murillo was paid 10,000 reales for the altarpiece of Saint Anthony's Vision of the Christ Child in the baptismal chapel of the cathedral of Seville. Murillo's painting was the largest and most expensive altarpiece in Seville.7 Apparently neither agent was successful in collecting the debt and Luz6n empowered another man to undertake the identical task on September 17, 1659 (Document 2). Thirteen months later, on October 21, 1660, Luz6n appointed two more men to collect 8,000 reales due him in Tierra Firme (Document 3). One of the debtors, Juan Bautista de Ibarquen, is the same man cited in the previous two documents, but the other debtor is new and the sum owed is different. In all probability, therefore, the third debt is from a separate transaction. These three documents illustrate some of the problems that confronted the artist dealing with the New World markets. The amounts owed also clearly indicate the potential profits and they were sufficiently large to compensate for the risks. The debts are not referred to again, which indicates that Luz6n eventually collected these past-due payments. However, the experience may have prompted him to act with more caution with a subsequent shipment. Thus, in October of 1660, Luz6n appointed collection agents for his next shipment before it was sent (Document 4). The ninety-nine canvases were sent in one box to be sold in either Cartagena or Portobello, the ports-of-entry for modern Colombia and Peru. Neither the size nor worth of the works were recorded, but the titles were as follows: