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March 4, Saturday
February 16-28, 2017
2:00 PM Onwards
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Contents Auction Lots
6 - 145
Terms and Conditions
146-152
Contributors
153
lot 030 page 190
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5
Furniture
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001
Vintage French settee 182 x 104 x 60 cm.
A finely made French settee decorated with floral motif which dates back to the 19th century. An eye-catcher with its captivating upholstered seats carrying floral ogee ornaments– in tones of gold and rouge on ecru ground fabric. Carvings on the wood frame compliment the floral theme. Thus, the vintage furniture renders a very feminine expression, as
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French parlours back to the aristocratic times were spaces of noblewomen’s hospitality as to welcoming their noble peers. Generally stable, with signs of use.
PHP 120,000.00
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002
Accent Chair with Oriental Motif 74 x 70 x 63 cm.
An accent chair from the 20th century that interestingly features Oriental elements, landscape scene, and floral motifs. The richly-decorated furniture work integrates vibrant and pale hues to produce such attractive and exceptionaly collaged upholstery. It hints at “chinoiserie,” an art style which proliferated in Europe during the 18th century and draws inspiration from Oriental designs. Such style reflected European artists’ allure of the Eastern culture which resulted to the materialization of many arts and crafts adhering to the aforesaid form. These designs were all thoroughly crafted through cross-stitching. Generally stable, with signs of use.
PHP 70,000.00
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003
Neoclassical Style TwoSeater Armchair 132 x 75 x 101 cm.
Neoclassical in style, dated 19th century from France. The furniture prides itself with impressive craftsmanship as it is built with a caned framework, and carries sophisticated motifs of rosette, floral basket, pinecone, and acanthus leaf. Such carvings grace the top rail and apron, while the oval splats have woven cane. Running horizontally from one end to another, a twisted rope motif accentuates the seat back’s reliefs. Moreover, the arm rests meet the seat’s front and styled with scroll arm terminals. The front legs and feet share the similar stylization as well. Completing the piece’s entirety are the cushions, of which carry ogee embroidery in shades of blue. Stable.
PHP 280,000.00
004
Pair of Portuguese Chairs in Sillon de Frailero Style 58 x 41 cm. Pair
Built in the style of “sillon de frailero” (friar’s/ monk’s chair), a type of furniture which flourished during the Renaissance period and illustrates the beauty of Christian and Moorish art. This pair of chairs has a Portuguese source and was crafted at the end of the 19th century. The chairs’ very form, despite the Spanish influence, have stiles and legs in Barley twist appearance and uniquely features the Albarrada motif stamped on its leather upholstery. Holding the latter in place are the round metal tacks which lines the inner and outer borders of its high backs and wide seats. Stable.
PHP 40,000.00 auction .0005 2017
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005
Napoleon III Style Fauteuils 96 x 59 x 52 cm. Pair
With noticeable elegance for their cabriole legs with casters, this pair of fauteuils carries the style of Napoleon III and dates back to the latter half of the 19th century France. The warmly attractive oak material used as its wooden frame gives the furniture their supreme tone of elegance and sincerity, suitable for conversations. While
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its tapestry seats complement such warmness by its blue floral ornaments, which gives the pieces a chinoiserie appeal. Interestingly, casters were only patented in 1876, which approximate the date of the pieces toward the turn of the century. The warmth of curvaceous oak, its cabriole legs, serious tone of cobalt on buttoned ecru upholstered
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seat, would speak of an unwavering character of eclecticism–a true mark of Napoleon III style. With minimal defects.
PHP 50,000.00
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006
Vintage Club chairs with leather seats 68 x 86 cm. Pair
With the taste of modernism, this pair of club chair exhibits a luxurious feel with its tufted brown leather seats on its bold wooden frame. The piece can be dated back to the early 20th century France, which period witnessed the height of an experimental perspective in furniture production. The furniture combines the traditional material of wood and the then-highly preferred
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leather upholstery. France during fin de siècle was the seat of the club chair’s production, which was known before as ‘fauteuil confortable’–a concept was derived from the noble lineage of Napoleon III, as his first chair has a recliner back [Joseph Pubillones, The Art of Design, vol. 1, 2014]. Interestingly, although the frame is made of wood, its modernist style can be compared to
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Carnegie Sinclair’s metal armed club chairs. Generally stable.
PHP 200,000.00
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007
African glass table holders 49 x 50 x 73 cm. Pair
Ear piercings, curly hair, slender, flexible, and dark bodies, these black and gilt polychrome sculptures are a pair of blackamoors fashioned as coffee table. These are dated around the
early 20th century from Portugal. Lacking glass top. With minor defects. Lacks the top glass.
PHP 100,000.00
008
Portuguese Console Table 91 x 150 x 40 cm.
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A Portuguese console table, dated between the 18th and 19th century. This item has a rectangular marble top uniquely designed with extended protruding corners. The tabletop is supported by four pilasters which carry foliage carvings, particularly the two fronts. These rest on a wooden
base plinth, of which has sides filled with elaborate relief pattern. Its front bun-styled feet are its notable feature too. Mainly used as a decorative item, console tables are an essential furniture development during the 17th century. Also, acquisition of such household piece speaks of one’s social status as well
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as affluence in the European society back then. Stable.
PHP 150,000.00
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009 Brazilian Rosewood Games Table with Drawer 75 x 87 x 42 cm.
Portuguese furniture which dates back between mid-18th and early 19th century, this game table with drawer bears the conflation of the styles of King Jose I (1750-1777) and Queen Maria I of Portugal (1777-1816). The wooden artefact is primarily made of Brazilian rosewood with marquetry out of thornbush, boxwood, and also Brazilian rosewood. At the center of the table top is a “checkerboard,� which is coupled by floral ornaments by the sides. The front of the drawer is embellished with floral vines and ormolu (or gilt bronze) mounts. Such a fascinating piece can be for either purpose of board gaming or interior decorating, that is, together with other accent pieces. But surely there is no need to select only one purpose if it is possible to have both. Generally stable.
PHP 100,000.00
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010
Napoleon III Style Coffee Table 79.5 x 101 cm.
A coffee table in wood and gilded bronze, dated between the 19th and 20th century. This French furniture adheres to the style of Napoleon III. The latter’s reign paved the way to the “revival of the intricate veneering and marquetry work” (Miller, 2013) during the French Second Republic/Empire which explains the profuse woodwork highlighting this furniture. Hardwoods with dark colors (e.g. mahogany, ebony) and the use of cast iron were also preferred. The tabletop, aside from the floral and foliage motifs it carries, is bordered with gilt bronze. Its legs exemplify French cabriole form with ormolu reliefs of feminine figures and sabots. Emplaced at the central section of the table’s apron is a régence female mask motif. Stable.
PHP 180,000.00
011
Neoclassical revival style coffee table 50 x 83cm.
This 19th century coffee table is fashioned in the style of Neoclassical revival from Portugal. It has a marble top with jagged corners. The friezes, legs, and feet carry various elements anchored on the said style, such as the acanthus motifs and paterae. Nineteenth century was notable its revivalism of various art-historical styles which artists and craftsmen happily mixed, resulting to an eclectic fashion. Such eclecticism, as tested through time, can be patterned with any particular taste and space design. With minor defects.
PHP 100,000.00
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012
French Bonheur -du-jour 127 x 76 x 50 cm.
A French mahogany piece typified as “bonheur-du-jour,” in Napoleon III style. Such furniture was made for women during the mid-18th century which implies their social relevance in European society at the aforesaid period. As described by Miller (2013:183), bonheur-du-jour is built with a feminine appearance, therefore it has “a raised back, like a miniature cabinet, made up of shelves, drawers, or pigeonholes designed to hold papers, writing accessories, and sometimes toiletries.” In this piece, the artist employed gilded bronze as well as elaborate marquetry (i.e. stylized floral motif). At the cabinet’s two sides, reliefs of angel head figures serve as prominent decors of the upper section. The lower body has one main drawer with concealed compartment. Of French provenance, this furniture is dated 19th century. Stable.
PHP 280,000.00
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013 Ebony cabinet with engraved ivory inlays 153 x 128 x 66 cm.
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A sophisticatedly designed Italian cabinet with engraved pewter and ivory line inlays on an ebony wood material dates back to the 19th century. It prides a Renaissance Revival stylization, as noticed with its elaborate engravings. A synthesis of different elements, such as medallions, foliages, vases, flora and fauna, and other mythological motif, this piece truly revives the meticulous preference for the classics. Thus, this furniture is a promising testament of functionality, wealth, and aesthetics. With signs of use, but generally stable.
PHP 300,000.00
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014 Renaissance Revival Cabinet 122 x 74 x 58 cm.
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This antique Renaissance revival styled cabinet from Italy dates back to the latter half of the 19th century. It carries elegant-looking ivory inlays in mythical, linear, and foliate forms, which are complemented by the dark tone of its lacquered ebony wood surface. In good condition. Lacks horizontal dividers.
PHP 240,000.00
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015
D. Jose I Style Cabinet 204 x 147 x 48 cm.
This lofty cabinet adheres to the style of D. Jose I of Portugal, dated between the 18th and 19th century. The furniture is profusely detailed with ripple embellishments (i.e. ribbing), has a stepped flat-top, and two turned columns situated at the furniture’s sides. Its two doors are configured with pairs of cut metal applications and rectangular mirrors which occupy the upper half. Aside from the aforesaid, a couple of brass reliefs in a diamond shape with protruding lobe, two drawers with handles, and bun feet accent the lower section. With signs of use.
PHP 200,000.00
015
016
Pair of Corner Tables in Dutch Taste 110 x 69 x 47 cm. Pair
This pair of antique marble-topped corner cabinets with marquetry work in the Dutch taste is dated back to the early 20th century. These furniture pieces pride their serpentine panels embellished with marquetry of various woods depicting vases and flowers. Gilt- bronze mounts complement the warmth appeal of the burnt, ochre, and rosy tones of these wood pieces. Generally in good condition.
PHP 100,000.00
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017
Portuguese Cabinet-on-Stand in Baroque Style 146 x 106 x 47 cm.
More than three centuries old as it is dated mid to late 17th century. This item of antiquity, a cabinet-on-stand, has a Portuguese origin and made of Brazilian rosewood. The upper portion is fashioned with elaborate ripple-molded friezes, twisted ropes, and metal applications. Furthermore, it is built with eight drawers simulating twelve which maximizes the object’s physical function. The cabinet’s stand is equally splendid in terms of craftsmanship as it bears floral and plant motifs, has turned legs and stretchers with brass applications, and bun feet. The entirety of this piece adheres to the Baroque style which emerged in early 17th century. Generally stable, but with minor defect.
PHP 240,000.00
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018
Pair of Portuguese Sideboards 97 x 138 x 54 cm. Pair
Built from various types of hardwood that includes mahogany, maple, ebony, and satinwood. The furniture is typified as a sideboard, a single-tiered cabinet which primarily functions as storage and for displaying food and tableware. During the Victorian era, along with buffet, these were considered as “very important items of furniture in more affluent households� (Miller, 2013). Dated as mid to late 19th century, originated in Portugal, this pair has the following configuration: a rectangular structure, rounded corners, marble top, metal mounts and drop handles, bun feet, and a mirror attached to its main door. Generally stable, with defect.
PHP 300,000.00
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019
Portuguese Center Table in Baroque Style 92 x 230 x 102 cm.
A large center table from Portugal dated between the 17th and 18th century. This Iberian furniture carries intricate carvings as demonstrated by the rectangular tabletop’s borders styled with gadroon, foliage reliefs side by side with the drawers, of which adorned by metal applications and moulding. Below this section, series of acanthus leaves and relief of head figures dominate as its embellishment. As for the table’s legs, it is crafted as bobbin-turned style which tapers at the bottom. Furthermore, these are supported by a rectangular/box-like stretcher with a medial beam to hold the legs in place. The aforesaid style of this furniture’s legs is a trend associated during the periods of late 17th to late 18th century Portugal. Stable.
PHP 180,000.00
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020 Napoleon III styled Marble-toped Cabinet in Boullework 107.5 x 83 x 38.5 cm.
This lacquered in black wooden antique piece is a Napoleon III style marble-topped cabinet in the taste of Boulle. The piece is dated back to the latter half of 19th century France. The dark ebony appeal of the woodwork gives emphasis to the radiating appeal of the combined Napoleon III and Boullework. Particularly are the marquetry of Tortuga shells and gilded brass on the frieze and door panel, on the one hand; and the gilt bronze (or ormolu) applications on different sections of the work, on the other. This furniture also prides its marble top. In good condition.
PHP 110,000.00
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021
Indo-Portuguese Furniture Set Table: 78 x 150 x 74 cm; Cabinet: 189 x 112 x 38 cm; Chair: 116 x 66 x 53.5 cm; Set of 5
Of Indian provenance, dated between the 18th and 19th century. This furniture set is composed of three (3) seats (pair of wooden chairs and an armchair), a table, and a cabinet. Bearing the influence of Hinduism, each piece is intricately
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detailed with floral motif carvings. For the table’s top, it bears a central theme depicting two elephants in the woods, and built with two drawers underneath. Serving as its legs are elephant figure sculptures with mini ivory tusks to accentuate the work. The cabinet also shares the same design except for the exterior back portion. As for the three chairs, both the front and back section carry florid carvings, having Krishna as the back splat’s central motif. Stable.
PHP 300,000.00
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Carpets
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022
Turkish Prayer Carpet 155 x 92 cm.
Interwoven by art and faith, this antique prayer carpet bears a style which traces its origin from Turkey. The piece dates back to the end of the Ottoman era, specifically between the late 19th and early 20th centuries. Prayer carpets are used by the Muslim brothers and sisters in the performance of Salah, or their worship of Allah. Salah is an obligatory prayer done five times a day and it is considered one of the five pillars of the Islamic faith. Interestingly, even paled by age, the textile still exhibits remnants of kilim beige, brown, cochineal red, and indigo blue. This composition of colours typifies a textile artefact of Eastern Anatolian origin, specifically from Kars Province – a notable area in Turkey that is culturally closed to its bordering neighbour, Armenia. This speaks of the impressive Caucasian appeal of the piece [see O’Bannon, G., Oriental rugs, 1995; Erdmann, H., Seven Hundred Years of Oiental Carpets, 1970]. With defects.
PHP 80,000.00
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023
Arraiolos Carpet 154 cm.
Beautifully made in Arraiolos (north of Évora District), in Portugal. The place prides itself of quality carpets and textile-making/tapestry tradition which stretches back between the 13th and 14th century. The art style was greatly influenced by the Moors during the span of their dominion over the Iberian Peninsula. From then on, especially in the 16th century, Portuguese needlework carpets and rugs became an essential component of aristocratic homes in the region. Production of Arraiolos textiles in the 20th century illustrates some changes in terms of its style as rug and carpet makers had introduced “Portuguese folk-art patterns.” As can be seen in this piece, it features multi-colored ornamentation of foliages and central floral motif. It is made of wool and dated between the 19th and 20th century. Completely handmade, women of Arraiolos meticulously construct these textiles through “a form of cross-stitch that completely covers the linen cloth foundation” (“Arraiolos rug,” 2005). Such cottage industry that exemplifies this distinct tapestry tradition is also thriving in northern Portugal, specifically Oporto. With visible signs of use.
PHP 100,000.00
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024
Arraiolos Carpet 290 x 210 cm.
Roosters, geese, and minute birds–these features appear more striking over a solid, deep blue background on this antique carpet piece. This fascinating antique carpet from Portugal known as Arraiolos dates back to the 20th century. The material used in this piece is exclusively wool yarn and is woven through needlework using long-armed cross-stitch. Arraiolos designs reflect the European fascination for Oriental tapestries and carpets. Its composition begins from the centre, commonly in the form of a medallion or circular figure. What primarily catches the attention in this artefact is the deep blue rectangle block at the center. It is complemented by its ecru border carrying vegetal motif. Floral and bird elements of various colours are designed throughout the carpets’ surface. Although symmetrically arranged, these elements appear to be discretely placed with one another; hence, creating a sense of multiplicity and diversity. However, the perceived deepness of the blue space at the center combined with the solidity of its surrounding ecru border creates a sense of unity to the whole composition. With defect.
PHP 120,000.00
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025
Chinese Carpet in Wool 170 x 98 cm.
More than its antiqueness, this piece promises to bring good luck. Having its rich cobalt blue colour conserved, this antique Chine carpet depicting a landscape with deer and bird dates back to the 19th century. The textile is made of wood, embellished in different shades of blue and beige. Surrounding its border is a continuous series of Buddhist swastika, which is noticeably swirls counter-clockwise (compared to Western, primarily Naziused, swastika that swirls clockwise). On the illustrated scenery, various elements are present, such as: a slender trunk of maple tree at the right side of the picture, a red-crowned crane at its opposite side, a huge mountain dominating the horizon, a wandering deer near the foreground, and a stream of water across the landscape. Maple trees are primarily native in Asia. While both deer and crane are important mythical creatures. The deer symbolizes wealth and good status, while the crane alludes to longevity and immortality. The mountain’s peak represents the dwelling place of the immortals. And water is a metaphor of life. That is, as one of the life forces (qi), water (shui) creates harmony if balanced together with the wind (feng); hence, the Chinese philosophy of feng shui. With defects.
PHP 70,000.00
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026
Landscape with Palace and Animals 165 x 390 cm.
Richly filled with floral designs and clearly illustrates a landscape scene, this woolen tapestry came from France. It is dated roughly between the 19th and 20th century. While the
fore is dominated by flora and fauna, a view of a palace, possibly Versailles, can be observed from afar. Such vista of the grand château is beautified even more by the mountain range, body of water, and architectural structures surrounding it. The Palace of Versailles is viewed as a symbol of monarchic power in France. It was erected in early 17th century under the reign of Louis XIII and became the official royal residence of the eventual
successors along with their family. The structure today is recognized as a UNESCO World Heritage Site due to its indisputable relevance in France’s culture and social history. With signs of use.
PHP 150,000.00
027
Mechanical Tapestry 153 x 120 cm.
A 19th century tapestry, predominantly in shades of brown and ecru, with minimal employment of green and bordeaux (maroon), depicting the façade of the Casa Colombo, or the historic residence of Christopher Columbus at Funchal in Madeira, Portugal. This is signified by the caption in ribbon at its lower section “Christóvão House Colombo, Funchal, Madeira.” Surrounding the image of the façade is a floral frieze abundantly embellished with navigation iconographies such as caravels, rose of the wind, nautical instruments, and coat of Columbus and Funchal. These imageries signify Christopher Columbus’contributions in the exploration of the New World (i.e., the Americas). Also indicated in the upper corners of the tapestry are the following years: 1446, 1505, 1474, 1492. The years 1446 and 1505 refers to his lifetime. While 1474 was the year he was first hired as a sailor, marking the start of his nautical career. And 1492 was the year he reached the New World. Generally stable.
PHP 90,000.00
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Silver
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028
Vermeil Scalloped Charger Plates Diam: 25.5 cm. 6,531 grams Set of 12
A set of 12 dishes done in vermeil (or gold-coated silver) dated between mid-19th and early 20th century, of Austro-Hungarian origin. These dishes carry guarantee marks of the city of Vienna, which signify their varying period of utility, some are dated since 1859 and other are between 1872 – 1921. Eight of the 12 dishes have “Schwartz & Steiner” goldsmith brands engraved at the reverse. Each of the dishes prides a relief of a coat-of-arms at their frieze. This insignia bears the phrase “SODIM OPPONERAT UTIS.” Generally stable.
PHP 440,000.00
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029
Marriage of German tray and Norwegian pincer Tray: 24 cm; Pincer: 15.5 cm. 314 grams Pair
Till full, purplish patination do them part–these silver pieces come form two different countries with `distinct` yet related cultures. As their paths crossed, these pieces became one. Hence, similar to romantic human beings, this type of relationship is not merely made by serendipity. A union of two pieces from different origins is similarly called in antiques investigation as “marriage.” One the one hand, the small silver square tray was made of German silver and dates back between late 19th and early 20th centuries. It bears German guarantee marks and silversmith mark of “MH Wilken & Sohne.” On the other hand, the pincer is made of Norwegian silver from the 19th century. It carries linear and chevron ribbings, while the ends are fashioned as scallop shells. It has both Bergen guarantee marks and its silversmith’s mark. Generally stable.
PHP 25,000.00
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030 Rooster 26 cm. 710 grams
A figure that represents a rooster, crafted from Portuguese silver. The piece is dated 20th century and specifically traces its origin in Porto. It carries a maker’s mark and an Eagle 833 hallmark, of which is attributed to the aforementioned place. Such mark indicates that the item was already in use since 1938 up until 1985. Rooster is considered as a cultural symbol of Portugal as it is their emblem and a central figure to one of their myths—Galo de Barcelos. Stable.
PHP 50,000.00 auction .0005 2017
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031 Pair of Portuguese Candlesticks 26 cm. 534 grams Pair
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From Portugal, dated late 20th century. This pair of candlesticks adheres to the Neoclassical style as illustrated by its fluted form and clawed feet. Such stylish structure is beautified even more by the engravings, of which carry plant motif. Made of Portuguese silver, these pieces have the maker’s mark as well as hallmark of Porto (Eagle .925) which tells of its existence since 1985. Stable.
PHP 40,000.00
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032
Portuguese Silver Rectangular Tray 80 x 45 cm. 4,796 grams
Rectangular in shape with serpentine handles and corners, this antique tray made of Portuguese silver is dated between late 19th and early 20th century. This silver piece is elegantly embellished with reliefs of swirling foliages along the frieze and coquille figures at the corners. The surface of the tray is embossed with similar ornamentations. It carries a Porto assay mark of a boar (Javalli) which means this was in force from 1887 to 1937. With minor defect.
PHP 320,000.00 auction .0005 2017
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Metalwork
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033
Art Deco Sculpture of German Shepherd Dogs 46 x 62 x 19 cm.
A bronze sculpture of German shepherd dogs on a marble base. It adheres to the Art Deco, an art movement/style that flourished in the early 20th century, specifically 1920s up until 1940s. The piece is attributed to the French artist, Louis-Albert Carvin, who lived from 1875 to 1951. Wellregarded as an animalier sculptor, Carvin was mentored by George Gardet and Emmanuel Frémiet. He was a member of the Société des Artistes Français (Society of French Artists) and conducted several exhibitions at the French Artists Salon from 1894 to 1933. Throughout his career, Carvin produced varying animalier sculptures which include staggard, lion, panther, bird, horse and dog (especially German shepherd). Aside from Carvin’s work which can be seen at Parc de la Maison Blance (in Clamart, Paris), a bronze trophy given to Wilbur and Orville Wright in 1909, “La muse de l’aviation,” was sculpted by him too. Stable.
034
“Misericordia” 47 x 19 cm.
Dated 1918 and titled “Misericordia,” this signed bronze piece of a nurse carrying two infants is a masterpiece by António Teixeira Lopes (1866-1942). This bronze sculpture was later reproduced as a commissioned art-work for the inauguration of the Hospital Da Misericordia in Vila Nova in Gaia, Portugal, which dates back to early 20th century. Lopes was educated in Porto Academy of Fine Arts where he had Marques de Oliveira and Soares dos Reis as his mentors. Later, his success in France elevated his status in the art world, making his skills recognized by nobilities such as King Carlos and his brother Infante Alfonso of Spain, and Duchess of Palmela. Social hospitals known as “misericordias,” which would mean ‘holy house of charity,’ were historically the main providers of health care services in Portugal since their creations in the 15th century. Only by 1974 when their management was centralized under the State governance. Stable.
PHP 120,000.00
PHP 80,000.00
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035
Bust of a Lady 60.5 X 24 cm.
Signed “A. Soares dos Reis” and dated 1878, this bronze sculpture bust of a lady over a marble base coincides with the year its artist received an honorable mention at the Exposition Universelle de Paris (1878). The artist Antonio Soares dos Reis was born in 1847 in the civil parish of Mafamude, Vila Nova de Gaia, Portugal. His studies in the Porto Academy of Fine Arts (1861-1866) and the prestigious École des Beaux-Arts in Paris (1867-1870) paved the way toward his celebrated status as one of Portugal’s eminent realist sculptors of the late 19th century. He was a prolific artist and received numerous recognitions and appointed into various positions both in Portugal and France. He became a part of his alma mater’s faculty in 1880. Both in 1881, he won First Prize in the Madrid Exposition and received the degree Knight of the Order of Charles III. Later in his life, the artist experienced his moments of discouragements. His genius incrementally became alienated from the Portuguese “traditions,” which rarely translates his works economically. Thus, in July of 1885 he was married to Amélia Aguiar de Macedo, granddaughter of his mentor Diogo de Macedo, as the mentor’s solution to the artist’s melancholia. His miseries persisted until his untimely death, with which “Diario de Noticias” detailed in 17 February 1889: “Porto, 16—committed suicide today at 8:00 in the morning, in the Street of Luís de Camões, in Vila Nova de Gaia, firing two revolver shots in the head, the eminent sculptor Soares dos Reis, lens of sculpture at the Academy of fine arts and author of true masterpieces. (...) The causes that determined suicide are unknown.”
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Before this tragic demise in his solitude, the 41-year old Soares scribbled on a wall in his atelier a profound expression of his grief, yet romantic-to-his-art, thus: “SOU CRISTÃO, PORÉM NESTAS CONDIÇÕES A VIDA PARA MIM É INSUPORTÁVEL. PEÇO PERDÃO A QUEM OFENDI INJUSTAMENTE, MAS NÃO PERDOO A QUEM ME FEZ MAL” [“I AM A CHRISTIAN, BUT UNDER THESE CONDITIONS, LIFE FOR ME IS UNBEARABLE. I APOLOGIZE TO ANYONE WHOM I HAVE OFFENDED, BUT I DON’T FORGIVE WHO HURT ME.”] Stable.
PHP 60,000.00
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auction .0005 2017
036
Horse’s Head
12 x 13.5 cm.
A bronze cast sculpture of a horse’s head placed over a round serpentine marble with prominent white veins. Notable with this figure are its bold textures, especially on the mane and facial sections. This detail gives contrast to its seemly plump form, which signals an impressive delicate artistry. Such aesthetic qualities invoke vigour and power on the one hand, softness and tranquillity on the other. Signed “H. Pomyers,” this bronze sculpture of a horse’s head is a work of art by the French contemporary artist Hedwige de Pomyers. Born in 1961, de Pomyers primarily deals with bronze in lost-wax technique. She acknowledges the influences of Rodin’s strength and delicatesse, Claudel’s power of expression, and Toulouse-Lautrec’s lively brushwork on her artistic ability. De Pomyers is a member of Le Maison des Artistes, a French government approved association to manage social security for visual arts. Stable.
PHP 40,000.00
037
Pair of Garden Fairies 99 x 38 cm. Pair
A pair of beautifully crafted bronze sculptures taking a form of fairies holding a flower, dated in the 20th century from France. These pieces invoke children’s tales about fairies as fancy little creatures with extraordinary abilities commonly associated with nature. In this particular lot, such little creatures are enlarged. Such pieces would be perfect to add more glamour at outdoor spaces, such as a garden, balcony, and patio, especially when their flower-shaped vessels are filled with full-blossomed flowers. Its perfectly green patination will definitely give glory to one’s space. In good condition.
PHP 120,000.00
auction .0005 2017
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038
Pair of French Bronze Candelabra 146 x 35 cm. Pair
Of French provenance, adhering to the 19th-century revival styles of Baroque and Rococo. This pair of bronze candelabra, circa 1800s, is crafted to hold five lights each. It is typified as heavy and solid in form, with prevailing motifs of scrolls, stylized foliages, paterae-inspired figure, and acanthus leaf. Such elements from the earlier styles combined with the immense framework of this pair resulted to a bolder metalwork configuration. These two pieces reflect the grandeur and massiveness of European cathedrals, of which stretches back from the Middle Ages. Generally stable.
PHP 100,000.00
039
Set of Liturgical Items in Gothic Revival Style Crucifix: 96 x 34 cm Candle holders: 84 x 16 cm; Set of 6
Adhering to the style of Gothic Revival which fluorished during the 19th century. Made of brass, the set is composed of six items—five candle holders and a cross with a relief of Cristo Moribundo’s image at the center. All items exhibit magnificent detailed reliefs of pontifical and saint figures which surround each piece’s mid and base section. Furthermore, they also have predominant motifs of quatrefoil, pointed arches, and acanthus leaf, illustrating the impressive fusion of Gothic and Baroque styles. From France, this Gothic Revival liturgical set for altars gives us an idea of how majestic French cathedrals from the past and even at the present. Generally stable.
PHP 120,000.00
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auction .0005 2017
040
French Gueridon 82 x 52 cm.
Classified as “gueridon,” the piece has a French origin as illustrated by its Empire style structure. It is made of gilded bronze (also known as ormolu) and bears convoluted details such as series of leaves, beading, twisted ropes, festoons, and feminine figures, of which very much reflect Greek and Roman civilizations’ art taste. Furthermore, notable also are its mirror tops, and out-turned, tripod-structured legs with caster feet to enable its easy transfer from one spot to another. Built as curvilinear too, the stretcher’s mid portion is graced by a high relief sculpture. Gueridon first appeared during the 17th century in France and functions as exclusive decorative furniture back then. Stable.
PHP 65,000.00
auction .0005 2017
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041
Bronze Sculpture of Rama 77 x 32 cm.
An impressive bronze sculpture of Rama, circa 19th to 20th century. Predominantly dark in hue, the piece is accentuated by the gilded bronze reliefs serving as the figure’s adornment. Such style of embellishment can be seen as a very close resemblance of Thailand’s traditional dance costume for Ramakien, their national epic. In this work, Rama is portrayed in a kneeled position, with the palm of his hands enjoined, projecting a pensive state. In Hinduism, Rama is known to be Vishnu’s seventh avatar. He is described as arguably the “most virtuous hero from Hindu mythology” (Cartwright 2015), with his story detailed in Mahabharata and Ramayana. Generally stable.
PHP 30,000.00
042
Head of Male Figure 34 cm.
Prominently features a moustache, of which specifically styled as “dumbbell,” the fascinating head figure of a man exemplifies South Asian physical traits/ethnicity. His facial attributes, to add, include a protruding nose, large almond eyes, long thick brows, rounded face, and ears with broad lobes and pierced. In India, though not exclusively, having a moustache serves as a cultural indicator of a man’s masculinity, age, and social position. In an article published and authored by Arvind Kalal (2007), it interestingly underscores how “moustache” can also mark cultural divide and social changes vis-à-vis modernity. This bronze sculpture traces its origin in India and dated between the 19th and 20th century. With defect.
PHP 75,000.00
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auction .0005 2017
043
Pair of Cloisonné Vases 52 x 30 cm. Pair
With a Chinese provenance, dated 19th century. This pair of metalwork pieces was crafted through the method of cloisonné, an ancient enamelling technique which “makes use of small, precious metal filaments and colorful glass enamels to create brilliant artwork” (Croft, n.d.). Believed to have a Middle Eastern (i.e. Egypt) origin, cloisonné however, was also developed and became widespread in China as early as 14th century. As for the pair of jars, they are built with long, slender neck which slightly widens at the rim, and broadens at the lower section. Both items carry similar polychrome designs such as series of floral and natural patterns, illustrations of Eurasian cranes in a forest, and figures of Oriental dragons at the base. Stable.
PHP 120,000.00
044
Palm Trees 43.5 cm. Set of 3
Dated roughly between the 19th and 20th century, of English provenance. These palmeiras, composed of three (3), were part of “surtout de table”—a prolific set of decorative pieces for dining tables (specifically formal ones) which emerged as early as 17th century in Europe. The pieces highlighted here are made of silver-plated metal on wooden bases and beautifully captures the very natural form of its subject. Furthermore, it is also attributed to Elkington & Co., distinguished silver and electroplate manufacturer established by George Richard Elkington (1801-1865) in Birmingham, England in 1830s. Stable but with minimal defect.
PHP 110,000.00
auction .0005 2017
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045 Boar 18 x 27 x 8.5 cm.
A bronze sculpture of a boar dated in the late 20th century signed “F. Berille,” alluding to the French contemporary artist Francis Bérille (b. 1945). Primarily this artist utilizes his art to capture forms of different animals, with most of his works represent birds at flight. His fascination on the beauty of flight extends to this particular piece, however this boar could only hop. Stable.
PHP 80,000.00
44
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auction .0005 2017
046
Untitled
51 x 40 x 21 cm. A 20th century bronze bust of a man, from Portugal. The piece gives a heavy impression as attributed to its very form and the chosen medium. The figure is presented with his head facing the left, carrying a jovial facial expression, and with a kinky hair. Such image, though lacking of horn, reminds us of Pan, the son of Hermes and known as the god of nature, shepherds, and huntsmen. He is also known as Faunus in Roman mythology, of which has a bronze sculpture crafted by the Italian architect and sculptor, Bartolomeo Ammannati. Stable.
PHP 50,000.00
auction .0005 2017
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047 Diana and Cupíd 170 cm. (sculpture) From the 20th century, this French bronze piece represents Diana and Cupid of the Roman mythology. In this sculptural work, Diana, the goddess of the hunt, nature and moon, is presented sitting on a tree branch, holding a bow away from Cupid, the god of love. The latter, by having a frontal view of this piece, seems to be suspended in the air, clutching an arrow and with eyes fixed towards the bow. Such depiction of these two mythological figures closely resembles Pompeo Batoni’s “Diana and Cupid,” an oil painting which he completed in 1761 and considered to be his finest work. Stable.
PHP 280,000.00
46
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auction .0005 2017
048
Un Message d’Amour 72 cm.
A bronze sculpture dated as from late 19th to mid 20th century. Signed by the French sculptor, Edouard Drouot, the piece illustrates a feminine figure with her both arms raised and head tilted upward, and appears to be looking at something. Half of her body is naked thus exposing the unblemished physique and accenting the full contours of the subject. An inscription situated at the base reads “Un Message d’Amour” which translates in English as “A Message of Love.” The artist, Edouard Drouot, was from Sommevoire, a commune situated in north-eastern France. He was mentored by Emile Thomas and Mathurin Moreau, both recognized as distinguished sculptors in the 19th century. Throughout his career, Drouot created a thousand sculptures, mostly of bronze medium, with human and animalier subjects. In 1892, he received a medal of distinction from the Salon de Paris, and recognition from Universal Exposition eight years after (“Woman Giving Wings to a Captive,” 2003). Stable.
PHP 160,000.00
049
Spaniel with Pheasant 29 x 32 x 15 cm.
Titled “Spaniel with Pheasant,” this bronze cast sculpture on a serpentine green marble base is a work of art by French animalier Pierre H. Varnier (1826-1890). His signature can be found at the lower portion of the bronze piece. Although he is almost considered as an animalier, Varnier was also an artist interested in depicting both animal and human subjects. Varnier’s distinct provision of textures and folds to his creations made him successful in leaving a seemly dynamic rhythm in every cast he created. Notice every stroke of the dog’s fur, the roughness of rock, and the feathery body of the bird. All these provide a visual sensuality that would speak differently to each perceiver. This sensuality by texture reinforces the temptation to follow what the hound gazes at afar. Generally stable.
PHP 45,000.00 auction .0005 2017
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050
A fine lady dancer 37 cm.
A fine lady dancer fashioned in bronze dates back to the early 20th century and carries the signature “M. Bouraine.” This work, thus, was signed by French artist Marcel André BOURAINE (1886-1948). Bouraine is a well-known Art Deco sculptor and is highly celebrated for his prolific artistry. He has done a vast number of works under this style, on which he has established himself with his own impressive identity. So gracious and refined, the lady dancer’s soft pose as a swan lake underscores her curvaceous, slender, and tall figure. Her round marble base and green patinated dress add color to the beauty of this piece. Generally stable.
PHP 100,000.00
051
Dancer 43.5 cm.
An Art Deco-styled bronze sculpture of a woman on a marble base. In this piece, the figure who seems to be a dancer, as hinted by her clothes and motion, impresses a dramatic, restrictive act. Such representation adheres to the style mentioned which became a trend in the early 20th century. This work of art bears the signature of its artist, Claire Jeanne Roberte Colinet. A Belgian native, Colinet entered the art scene when she joined the Salon des Artistes Francais’ exhibition in 1913. She was heavily influenced by the Art Decoratif movement that is why her body of work (mainly statuettes of Oriental female dancers) demonstrates machine-like forms. As for the piece, it is dated early to mid 20th century, from France. Stable.
PHP 80,000.00
48
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auction .0005 2017
052
Dancer 39 cm.
An early 20th century bronze sculpture on a marble base carrying an inscribed signature “Kernalan,� this piece depicts a Turkish gypsy dancer in motion. As it embodies the Art Deco spirit, the figure appears as elegantly crafted with combined intricate detail and livening rhythm of swish and swirls. Gypsies are culturally intertwined people but are spread throughout the world as different communities too distant to one another. They originated from Northern India and arrived at the Middle East by AD 1000. From there they scattered throughout Europe and the Near East, and eventually blended with the Europeans. They were known in their strong communal spirit, as they help one another in times of struggle. Women among their culture were known fortune-tellers and entertainers, and dancers. Generally stable.
PHP 110,000.00
auction .0005 2017
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053
Bronze Sculpture of a Face 43 x 29.5 cm.
Roughly between the 19th and 20th century, a bronze face sculpture on a cube glass base. The piece has a modernist impression as portrayed by its abstracted form. As it appears, the face is closer to a male feature rather than feminine, and possesses a reserved facial expression. Such mysteriousness is reinforced by being tight-lipped and the lack of eyes to which the perceiver can connect. Interestingly, the piece is crafted with the protruding brows linked to, as it seems, either a pair of horn or facial hair. Noteworthy too are the attached metal strips with bolts on his cheeks which create a difficult read
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regarding the persona of this bronze figure. An inscription found at the bronze figure reads, “DMO 91,” alluding possibly to its artist and date it was completed. From Portugal, the piece would be a reminder of one of the most renowned death masks in history, Dante’s. Stable.
PHP 80,000.00
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auction .0005 2017
054
Lady feeding chickens 45 cm.
Dates back between mid 19th and early 20th century, this French sculpture of a lady feeding chickens is done in antimony on wood base. The attire of the lady represents her rural background, as she wears also an apron and headdress suitable for a laborious work for an entire day. With which, she raised her apron up to carry what could be maize to feed off the chickens right at her feet. The thorough textured grass beneath her feet, as much as the polished skin and mildly detailed dress gives life to this metal-piece. Its artist, Hippolyte François Moreau was a French sculptor. He was born in Dijon in 1832 and died in Neuilly-sur-Seine in 1927. He was born of a family with proclivity and skill in the art of sculpture. His remarkable works of art are mostly about children and young ladies. He also dealt with 18th century-inspired hunting scenes.
055
Renaissance Revival 65 x 23 cm.
This Renaissance revival piece is styled as an ewer with brass applications over marble body, which is dated back to the 19th century from France. The overarching figure of the nymph sprouts from the flower-fashioned handle, while she holds the sides of the ewer’s lip. The body of the vessel holds various elements of such revivalism, including mythical masks, acanthus foliates, and festoons. The bordeaux marble and golden tint of the brass metal create a symbiosis of their respective elegance: marble with its sensuality, and brass for grandiosity.
Stable.
Generally stable. For decorative purpose only.
PHP 70,000.00
PHP 60,000.00
auction .0005 2017
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Paintings
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auction .0005 2017
056
Untitled 135 x 100 cm.
“...a distinctive name of Portuguese Contemporary Painting...,” this is how Movimento Arte Contemporânea (Contemporary Art Movement) describes Matilde Marçal, the artist of this piece. Done on canvas using oil as her medium, Marçal’s work illustrates dynamic brushstrokes to achieve an abstracted reality. Furthermore, it tries to impress on its perceiver of loosening one’s self while maintaining sense of focus. Dominated by shades of gold, brown, and gray, all in heavy and textured strokes, a cup on a saucer with a bouquet of Magnolia flowers highlights the canvas’ lower center. Immediately surrounding the central subject are varied figures in polychrome format. This untitled artwork is signed and accomplished in 1990.
Since 1972, she has been conducting solo and collaborative exhibitions across the globe, with Exposições Colectivas de Natal - MAC - Movimento Arte Contemporânea as her most recent (see Movimento Arte Contemporânea official site for a complete list). Marçal holds several awards such as Biella Per L`Incisione International Prize in Italy (1993), National Prize “Cordeiro Ramos” of Academia Nacional de Belas Artes in Portugal (1992), Award of Acquisition, “European”–Large Format Print Making in Dublin, and Prize of the Bienal Intergrafika de Berlim in Germany (1984). Stable.
PHP 280,000.00
Matilde Marçal, born in 1946 in Abrantes, Portugal, acquired her education at the Fine Arts High School of Lisbon.
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057
Untitled
119 x 149 cm (without frame); 126 cm x 156 cm (with frame) Inspired by the late Renaissance as illustrated by the subject, yet of later origin. This oil on canvas painting depicts a plein-air scene of nobility having a meal together. These French figures, as seen, are preoccupied by the conversations they have, while two servants attend to their needs. They are portrayed donning opulent clothing during the 17th century which includes coat, waistcoat, and breeches for men, and robe, petticoat and kirtle for women. Amusing also is how the arches add a Medieval/ Renaissance mood to this work as well as to make the entirety compact. From afar, a building’s facade serves as the background, implying that the scene transpires in a garden-situated structure. This piece is dated 20th century and of French provenance. With defect.
PHP 80,000.00
058
Chinese Ancestor Portrait 102x 92 cm.
A Chinese ancestral portraiture done in gouache on rice paper depicting a couple dates back to the 19th century. This particular work of art represents the high regard of the Chinese toward the elderly. It is however disputed that their regard somehow exceeds from merely honouring to nearly worshiping their ancestors through commemoration with these portraits. Stuart and Rawski narrated in their book Worshiping the Ancestors: Chinese Commemorative Portraits (2001) how portraits of the deceased ancestors “were parade in funeral processions and put on family altars to receive daily offering of food and incense.� With the introduction of photography in the mid-20th century, the prominence of the portraitures in hanging scrolls gradually reduced (p. 48). The deposition portrayed of these couple exemplifies their well-to-do status, which was parallel to the style and preferences of wealthy families during the late Qing dynasty period. In partially good condition. With signs of age.
PHP 120,000.00
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auction .0005 2017
059
Landscape with an Aqueduct
58 x 78cm
A landscape painting depicting an aqueduct in rural setting dated “88” (i.e., 1988) and carries the artist’s signature “R. Bordalo,” which alludes to Portuguese well-celebrated Master Painter Real Bordalo. The work is typical of the Impressionist school, as plein air paintings was introduced by the said art-movement of the period. Interestingly the painting provides a dramatic appeal. The warm tones at foreground make the piece approaching its viewer, while this is contrasted by the coolness of its horizon. The vast stretch of the aqueduct and the presence of houses with tejas rojas (red roofs) may point this piece as representing Águas Livres aqueduct in Portugal. A different but comparable painting having the same subject is currently exhibited in Museu de Lisboa. An attribution note to its artist is attached at the back. In generally good condition.
PHP 65,000.00
060
Untitled
68 x 118.5 cm (without frame); 84 x 126 cm (with frame) Still life, as described by by Matilde Marcolli (2012), “is the most philosophical genre of traditional painting” as it brings challenge on how to represent and interpret inanimate objects vis-à-vis the concept of space and time. In this piece, one can observe the dominance of warm colors and the employment of chiaroscuro technique. It specifically features a basket of fruits, of which comprised of oranges, grapes, and pears. Aside from these, a glass of wine, foliages and a gold tray depicting the fruits’ reflection also occupy the canvas’ upper half, while a clothed table dominates the bottom space. A Portuguese artwork dated between the 19th and 20th century. The painting is attributed to the artist named Teofilo, as it bears his signature, of which followed by the text “REP.” Stable.
PHP 80,000.00
auction .0005 2017
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55
061
Still Life 75 x 51 cm.
Bringing a romantic sense of sentimentality, this Still Life depicting vase with flowers, aquarium, and fruits is done in oil on canvas. The art piece bears its artist’s signature “Christina” and dated 1894, both facture marks are located at the lower right corner of the surface. The artist playfully employed the technique of chiaroscuro in casting soft lighting to the figures at the foreground, while providing a strong contrasting darkness at the background. Remarkably this effect creates an implied focus toward the gold fish in the fishbowl, with which the viewer’s gaze will immediately get caught. The romantic feel is achieved by placing a deep red drapery against the background, which is heightened by the darkened milieu. It is noticeable that the fishbowl explicitly reflects the lighting
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coming from the windows. This indicates that the artist controlled the lighting, by allowing the outdoor source as her only source. The bold, ribbed linear gilt frame is coeval (of the same origin/period) to the painting itself. The artist was a disciple of the celebrated animalist painter Moura Girão (1840-1916) [Correa, M.N., Moura Girão”, 1983, pp. 169-170]. With minor defects, but generally stable.
PHP 230,000.00
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auction .0005 2017
062
063
Leixões
“Les oies blancs”
50 x 65 cm.
146 x 113 cm.
A 20th century oil on hardboard painting, from Portugal. Adhering to the Impressionist style, it offers a majestic view of Leixões, one of Portugal’s key harbours which can be found at Matosinhos, beside Rio Leça and facing the North Atlantic Ocean. Prior to Leixões’ present modernized structure, it played an essential role in Portugal’s export of wine—a product which the country is renowned. Visually appealing primarily due to the utilization of lively hues and textured surface which befits for a genre art piece. Characterized by short but striking brushstrokes, it is noteworthy also how the artist demonstrates the effects of light in giving life to such scene. Ayres Ferreira, the artist, was born in Portugal in 1908. Largely influenced by Impressionism and the prevailing socio-cultural milieu, her works mainly depict Portuguese sceneries and daily life. Some of these include “Boating at Sunset,” “Angeja,” “Tending ... - Vilar de Frades,” “Praia da Rocha,” and “Morning in the Douro.” Stable.
PHP 60,000.00
This oil on canvas art-piece was painted by a Portuguese-born, French-trained artist Luis Lemos (b. 1954), titled “Les oies blancs” and dated 1987. The work was done during his more than 2 decades of stay in France since 1965. He studied in Ecole de Louvre about drawing and painting. In 1978, he met Jean-Robert Arnaud, a famous gallery owner and founder of Cimaise magazine, with whome his success in the art world has further stridden. Particular in this piece, the artist carries a gesturalist style, which can be compared to the renowned Artur Bual. But unlike Bual, Lemos’ work has vibrancy and animating impression. As the left side is a representation of a white haired nude woman. She encounters two species of birds, a pair of white geese; hence the title. The artist might have been alluding to the classical symbolism of the feminine with geese, which is an emphasis on her overwhelming sexual explicity and energy. But the smudged and textured details of the composition are also an invitation toward a reflective enquiry about femininity. That is, it evokes every her-story as even more complicated than mere sexuality. With minimal defects, but generally stable.
PHP 80,000.00
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064 The Adoration of the Magi 35 x 26.5 cm.
Christianity is regarded as European’s greatest contribution to the Filipino heritage. As Filipino Christian faith centres on the fervent celebration of the Christmas season, the graceful image of the new born Christ Jesus, together with the Blessed Virgin Mother Mary, his earthly father Joseph, surrounded by Magi, is no estranged icon to the eye of a Filipino faithful. Thus, the same goes with is this 17th century Flemish oil on wood painting depicting the “Adoration of the Magi.” The illustrations, colors, and details are richly composed by the European artist to elevate the spiritual experience of its observers. The work draws most of its weight to the representation of the Mother and Child at its center, which signifies the supreme importance of this celebration to the entire Christian world. With signs of previous restoration and has minor defects.
PHP 180,000.00
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auction .0005 2017
065
Seascape with Boats and Figures 24 x 33 cm.
Painted by none other than the seasoned Belgian artist, Charles Louis Verboeckhoven, signed and dated 1831. This 185-year old work of art depicts a seascape, of which sailboats and human voyagers fill the central section. Such scene gives us a glimpse of European folks’ maritime life and activities during the 19th century or earlier. Furthermore, as the piece adheres to the Romantic style, it speaks of how the artist strongly admires nature, in this case maritime, and his acuity on life. Born in 1802, Charles Louis Verboeckhoven’s fruitful career in the arts is epitomized by his substantial quantity of paintings which exhibits a maritime theme. Aside from Belgium, his country of origin, Verboeckhoven also rendered captivating seascapes of The Netherlands, France and United Kingdom. Several of his works are housed now in various European museums which include “Arrival of the yacht of Queen Victoria on the roads of Ostend the year 1843” (1843, at Ostend, Museum of Fine Arts), “Coast Scene” (at Harris Museum & Gallery, in Preston, England), “The Rising Tide”
(c. 1840-1860, at Sunderland Museum and Winter Gardens, in Sunderland, England), “Seascape” (at Usher Gallery, in Lincolnshire, England), and “Belgian Vessels in a Stiff Breeze” (1835, at The National Trust for Scotland in Drum Castle, Garden & Estate). Stable.
PHP 140,000.00
066
Untitled 36 x 56 cm.
An untitled oil painting on canvas pasted on hardboard attributed to the Russian artist Igor Roubinski dates back to the 20th century. The art-piece portrays a multi-figured subject, specifically a group of young women sitting before a heap of hay on green fields. The composition is highly influenced by the Russian Impressionist school as it is notable with the artist’s strong sense of light and fluidity of brushstrokes. The nearly vague imagery speaks for the painterly technique favoured for its execution. Generally stable.
PHP 30,000.00 auction .0005 2017
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067
Quinta Velha - Casa de Baixo (Sintra)
50.5 x 43 cm.
Exemplifying the grandeur and tranquillity of life with nature, this work dates back to late 20th century. The work prides itself with a picturesque image of Quinta Velha guesthouse surrounded by the vast verdant scenery and a distant view of Pena Palace atop Sintra mountains. This architectural structure, a castle to be specific, was built in 1854 through Fernando II and has been identified as a UNESCO World Heritage Site. Belonging to a family of music and theatre artists, John O’Connor ventured his way into the world of fine arts. O’Connor was an exceptional student at Chelsea School of Art, one of London’s distinguished art institutions, as he completed his Fine Arts degree there with flying colors. Working on different mediums and artworks (i.e. mural,
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oil painting, print, sculpture) which clearly illustrate his versatility as an artist, he also managed to publish several books through Livro d’Ouro. Since the 70s, O’Connor has been conducting exhibitions in Portugal and England which, as a result, enabled his works to be spread in various collections and art institutions such as Victoria and Albert Museum, Museu de Cidade, Selecções do Reader’s Digest, Lapa Palace Hotel, to name a few. Originally an abstract expressionist, O’Connor later on “returned to the study of nature and the works of the old Master” (“About the Artist,” 2005). Stable.
PHP 80,000.00
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auction .0005 2017
068
Flemish School of the 19th century 37 x 41 cm.
Painted in the Dutch school of the 19th century, but specifically in the style of Philips Wouwerman (1619-1668), this oil painting on canvas represents a landscape with figures and animals. The intensity of blue details immediately catches its observer’s sensibilities. The cerulean skies arches like a dome, which graces a sense of serenity to the rest of composition. The lady’s deep cerulean skirt at the foreground echoes this detail. Since burnt, amber, and ecru colours provide a heavier appeal to a view, the position of the lady in blue skirt serves to balance the overly warm tones of the foreground. As one’s gaze moved toward the background, artist’s use of aerial perspective can be observed. A thick dim smoke rises from the centre toward the upper left corner of the painting, which functions to balance the visual weight of the heavier subjects at the lower-right side of the fore. In good condition.
PHP 120,000.00
069
Untitled 50 x 65 cm.
Typified as a landscape work, it exemplifies an impressive vista of luxuriant woodland. The artist, as it appears, adheres to Impressionism—an art movement which flourished in the 19th century and popularized by renowned painters like Claude Monet, Édouard Manet, and Pierre-Auguste Renoir. In this work, noteworthy is the use of short and curvaceous strokes, of which are defined and possess thick paint applications. Furthermore, as it follows a non-realist depiction of the subject, one can observe the use of light to capture a momentary scene of trees as the sunbeams embrace the verdant surrounding. Signed by Carlos Morais, this oil on canvas painting is dated 20th century and traces its origin in Portugal. Stable.
PHP 80,000.00
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61
070
Landscape with Shepherd and Animals 74 x 93.5 cm.
Painted back to the 20th century, this oil painting on canvas from Europe depicts a landscape with a shepherd and animals. The piece is signed “Trello� at the lower right corner of the surface. The subject shows a rural scene across two grassy hills in a sunset time. The lady shepherd is painted right at the center of the painting, whose slightly leaned vertical posture is perpendicular to the curves of horizon. The painting casts a realistic perception toward an observer. With which, the composition is comparable to a realistic scene at the other side of a window. The varying tones from warmer fore to cooler background and the soft brushstrokes furnish the art-piece at hand such an impression. Generally stable.
PHP 110,000.00
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072
O fado
Landscape with Trees and Figures by the River
30 x 40 cm.
Titled “O fado,” this 20th century work was inspired and a recreation of José Malhoa’s 1910 painting—“Fado.” It specifically portrays a Portuguese gentleman who plays a guitarra portuguesa as he serenades the woman sitting beside her. The latter, in a reclined position, listens assiduously as shown by her gestures and fixed gaze towards the Fadista. Fado is a traditional folk music in Portugal which, as described by UNESCO, “...represents a Portuguese multicultural synthesis of Afro-Brazilian sung dances, local traditional genres of song and dance, musical traditions from rural areas of the country brought by successive waves of internal immigration, and the cosmopolitan urban song patterns of the early nineteenth century.” In 2011, it was recognized by the same institution as an intangible cultural heritage of humanity, hence, showing its socio-cultural worth in a global scale. The word itself denotes “fate/destiny” in English language, and believed to have emerged in the early 1800s. There are two known fado classifications: the Lisbon and the Coimbra styles. Born in 1916 in Oliveira de Azeméis (northern Portugal), Alípio Brandão was both sculptor and painter. Done through oil on canvas, the piece is signed at the back portion. Other works of Brandão include “Landscape with houses and figures” and “Vista da praia com forte” which was completed in 1957.
46 x 55 cm.
Characterized by swift and broad strokes, with uneven color transitions. Such technique captures the radical and unconventional side of artworks produced in the 20th century onwards. Despite the abstractionist depiction, one can have a lucid grasp of the image being conveyed in this piece—that is two figures, possibly a couple, along a tranquil river, with high trees dominating the background, on a sunny day. This artwork was painted on canvas with the use of mixed media, and bears the signature of its artist, Serafim Fontes. Fontes, who was born in Porto in 1933, emerged into the Portuguese art scene three decades after. He had formal education in Fine Arts and holds an esteemed reputation as an artist in Brazil and Portugal. His credentials, to mention a few, include an exhibition Saláo Nacional de Belas Artes of Brazil, a gold medal from Guanabarina Academy of Letters, and silver medals from Salão dos Artistas Nacionais, Valenciana Academy of Letters, and Saláo de Artes Plãsticas de S. Lourenço, Minas Gerais (Brazil). With minimal defects but stable.
PHP 50,000.00
Stable.
PHP 60,000.00 auction .0005 2017
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073
Leiria Anciently called Callipo Extremadura
5.
33 x 41 cm. Set of 5
This lot contains five (5) illustrations done in coloured inks on paper, which date back to early 19th century from England. Their specific descriptions are as follows: 1.
2. 3. 4.
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“The Car of Portuguese Estramadura, (Ox cart) from the work of W. Bradford”.” Sketches of the Country, Character and Customs in Portugal and Spain ‘, London, 1812. Opened by I. Clark. Framed. 25.5 x 33 cm. ; “Old Belem Tower from the West Estramadura.” Opened by John Jeakes. Framed. 25.5 x 33 cm. ; “Mertola from the North.” Open by OJ Stadler. London, 1816. 26 x 33.5 cm. ; “Sir Arthur Wellesley Quarters Vimieiro ….”
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(Headquarters - General of Wellesley troops in Vimieiro). Opened by O.J. Stadler. Published in 1818 by T. Cadell & W. Davies. Framed. 25.5 x 33 cm. ; “Leiria anciently called Callipo Extremadura.” (Leiria formerly called Callipo). Opened for J. Baily. 1814. 25.5 x 34 cm.
These illustrations can be useful in an attempt to write a history of Estramadura, which is now an autonomous city in Spain that borders Portugal by the west. Antiquarians and collectors of historically important documents and illustration may even find this worthy of careful conservation as to be part of their own collection. Estramadura, interestingly, lies between various bordering cultures. These imageries, in particular, evince the Portuguese dimension of Estramadura. With defects.
PHP 50,000.00
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Tendinha do Rossio 47 x 81 cm.
Portuguese in origin and dates back to the 20th century’s first half. The piece, with an unidentified artist, was painted on a billboard medium under glass. The subject of this work interestingly depicts a scene which transpires in front of the century-old restaurant, A Tendinha. Donning a tidy uniform and red-dyed hair, the young male servitor brings a drink to the suited gentleman who is mounted on a white horse. Such image has always been the institution’s trademark which can be found atop the establishment’s main doors. Built in 1840, A Tendinha is a known Portuguese restaurant situated at Praça Dom Pedro IV (in Lisbon), next to Arco do Bandeira, which offers good liqueur as well as local foodstuff such as crepe de legumes, chamucas, pastéis de bacalhau, croquetes, bifana grelhada, among others. Aside from its menu, the restaurant is also a well-known spot in Lisbon’s historic area as it appears in a fado song (traditional folk music) which mentions, “...all artists and fado singers should come here” (Alves, 2016). A Tendinha’s very existence is culturally significant as it speaks of Portugal’s colorful history and exquisite food tradition. With defects but stable.
St. Ignatius of Loyola and his Vision of the Blessed Mother and Child Jesus 74.5 x 57 cm.
Oil painting on canvas representing St. Ignatius of Loyola and his Vision of the Blessed Mother and Infant Jesus dates back to the French school of the 19th century. It is noticeable that a dialectical force is represented at the centre of the painting. That is, there are two competing forces: a thesis and antithesis. As exemplified, the dull painted, bedridden Ignatius (as thesis of ill and sinful) is contrasted by the vividly coloured and strongly lit figures of the Madonna and Child Jesus (antithesis as the Vision). This dialectic led to the conversion of the Saint, as his hagiography is already known to the faithful. Such a dialectical relation creates a growing eerie that spreads throughout the milieu; hence, invoking both sense of fear and veneration from the surrounding figures. The vertical orientation of the canvas adds a sense of elevation through visual impressions of cherubs above the then converted Ignatius. Generally stable.
PHP 200,000.00
PHP 40,000.00 auction .0005 2017
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076
Untitled
40 x 50 cm (without the frame); 66.5 x 75 cm (with frame) A signed piece bearing the artist’s initials “RUY,” from Portugal. This artwork illustrates an adherence to the abstractive mode of presentation as seen to its unconventional portrayal of the figures as well as the surrounding. At the lower right portion, a naked feminine figure is shown with half of her body soaked under the water. Another female along with an anthropomorphic figures fill the opposite section of the canvas. Furthermore, the upper half is crowded by the urban structures and material things which
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“dehumanize” humans as opposed to the self away from these and being close to nature. Roughly between the 19th and 20th century, the artwork is attributed to Ruy Leitão and was done on paper via colored pencils medium. Stable.
PHP 110,000.00
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077
Niña Maria with her parents, Sts. Anne and Joachim 67 x 50 cm.
A religious painting devoted to the representation of the young Blessed Virgin Mary or Niña Maria with her parents, Sts. Anne and Joachim. This oil painting on canvas dates back to the Portuguese school of the 19th century. The two (2) cherubs above the Lady’s head holding a crown of roses alluding to her pre-destined stature as Queen of Heaven. Both composition and its coeval jagged frames typify the Neoclassical style. Art-historical periodization in Portugal begs to differ from the dominant framework of Western European art. Of which, Neoclassical treatment developed later in Portugal, in contrast to the French stylizations of Louis XVI and Napoleon.
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Neoclassicism started in Portugal as its distinct Pombaline style, which concern was drastic restrictions on ornamentation in response to the trauma of 1755 Lisbon Earthquake. The elaborate festoons on top are a possible swerve from the restrictive Pombaline. Of technical interest, the development of blue pigment only flourished in the second decade of the century. Before 1824, blue colour was rarely available as it was sourced out of multiple extractions from powdered ultramarine. Generally stable.
PHP 300,000.00
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Young Man Smoking Cigarette 69 X 60 cm.
An oil painting on canvas shows a young man smoking a cigarette, which dates back to the early 20th century Italy. It carries a signature “A. Mariri” at the lower left corner of the art-piece. The subject is a young man who appears to be a fruit seller, with the fruit basket before him. He holds a lit cigarette on his left hand, while leaning at a wall as he enjoys every puff of its smoke. Interestingly, various elements in this piece provide clue as to its origin and date of creation. On the one hand, the background represents a bridge which resembles the Ponte Guiseppe Mazzini at the Tiber River. Further at a distance is a cityscape, depicted dimmer and paler, as the artist tried to cast a realistic areal perspective. Such urban setting includes a familiar edifice, specifically the dome of the minor basilica of San Giovanni dei Fiorentini. The two mentioned sites are topographically corresponding to their actual locations in Florence, as based from which the artist’s perspective is situated. Given such coordinates, this painting could have been done along the Lungotevere Farnesina.
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On the other hand, the illustration of cigarette gives a hint to the dating of the piece. In Carl Ipsen’s book ‘Fumo: Italy’s Love Affair with the Cigarette’ (2006), he mentioned that before the First World War (1914-1918), “the typical smoker was urban, male, and reasonably well off. It was only in the decade or so after 1900 that consumption increased and smoking became more frequent among the working classes and even some women” (p. 15). Thus, this historical account explains the manner this young fruit vendor smokes his cigarette with a luxurious feel back in his time. Stable.
PHP 40,000.00
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Nuestra Señora com Menino 44 x 26.5 cm
Painted on wood using oil medium, this work shows a modern depiction the Madonna and Child. Such image is recognized both in the Catholic and Eastern Orthodox churches as an “iconographic representation” which became a preferred subject for artists during the Medieval and Renaissance periods. In this piece, the Theotokos is portrayed as seated on a throne, wearing a blue robe, of which represents Mary’s purity and her immaculate conception. The child Jesus, on the other hand, is being embraced and sits on her
mother’s lap, dons a red robe while holding an orb. Both figures, furthermore, are depicted with golden aureole which indicates their sacred status. Of European origin, as this piece resonates the long tradition of Eastern Church iconography, the art-piece at hand is dated 20th century. Stable.
PHP 50,000.00
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Sleeping Infant Jesus amd Saint John the Baptist 31 x 40.5 cm.
Italian school, 18th century, this pair of oil on canvas paintings represents the sleeping Infant Jesus and John the Baptist. Surrounding both subjects were iconographic elements which point out what they represent. On the one hand, as the infant Jesus sleeps he holds a crown of thorns in his left hand, while his right crosses over and rests toward the cross. His head rests over a majestic red cushion, which emphasizes His kingship among kings. Also there are three nails next to him, which alludes not only to the Infant’s destined role as our Saviour; but it speaks of Triclavianism – i.e., the belief that three nails were used in His crucifixion. The belief was refuted as heretic by Pope Innocent III in 12th century; but some denominations continued believing it, especially in Geneva and Southern France. On the other hand, the infant John the Baptist lies beside a lamb while holding a wooden staff. A scallop shell is also depicted nearby the saint, which represents his role of the Lord’s Baptist in the Jordan River. Intertwined in the staff is a lace, which carries “ECCE AGNUS DEI” – lit. “behold the lamb of God” – a phrase alluding to the Saviour. The simplistic landscapes dis-placed the figures from the then worldly obsessions enveloping urban life of the 18th century; thus, a religious reaffirmation of the devotion to poverty and simplicity. Stable.
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PHP 150,000.00
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Nus femininos 24.5 x 49.5 cm.
Featuring a detailed representation of several nude feminine, of European provenance. This signed piece, dated between the 19th and 20th century, was crafted through serigraphy, or commonly known as screen printing/silk screening. Ingeniously done as seen to its resistance to the conventional depiction of women and their body, the artist skilfully fuses the element of illusion. Hence, the main subject portrayed in this artwork kindles one’s imaginative or artistic side to be critical of furtive images and message. Here, the nude figures of women are not just mere physical bodies; they can also be perceived as trees—women as a symbolic representative of nature.
a fine screen onto the paper beneath” (“What is Serigraph Printing?,” 2016). Serigraphs are “original art” and do not equate with “reproduction prints” as it features a collaborative work between the individual who does the printing and the artist. Such technique was first used by Egyptians, Chinese, and Japanese in the ancient period. Screen printing was later brought to the West in the closing years of the 1900s. By 1930s, the term “serigraphy” was coined and formally recognized as a form of art in North America (Merry, n.d.). Stable.
PHP 35,000.00
Considered as the oldest form of printing, serigraphy is “a stencil-based printing process in which ink is forced through
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82 Bailando 70 X 60cm.
Titled “Bailando,” this 20th century painting was done by its Portuguese artist Peter Charters d’Azevedo (b. 1946) using mixed media on canvas. The artist’s signature is on the lower left hand corner of the surface. Captivating is the intended provision of texture to the physical composition of the paint. Of which, a sand-like roughness can be observed as complementing the fluid, thick, and bold strokes of paint delineating its ballerina subject. Primarily the artist used a warm palette, which consists vermillion, golden ochre, ecru, and neutral colors as white and black. This warmth gives weight to the subject, as if it approaches beyond the canvas toward its observer– making it appear as more inviting. Stable.
PHP 110,000.00 auction .0005 2017
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Icon of Sts. Basil, Gregory, and Isaac 42 x 38 cm.
A theology written in images and colors, this 19th century icon from Ukraine represents the three saintly figures Basil the Great, Gregory the Theologian, and Isaac the Patriarch. This religious piece is made of oil with gold applications on wood, then protected by a gilt metal cover known as riza (or oklad). Evident that the crafting of this spiritual imagery is a conflation of Eastern Orthodox iconography and Western
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European stylization, which was spurred by the changes in the Russian Church traditions at the time of Patriarch Nikon of Moskvah in the 17th century. Generally stable.
PHP 100,000.00
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Untitled 106 x 131 cm.
Dated between 1993 and 1995, this oil painting on synthetic canvas is a work of art done in the final years of the artist’s life time, Antonio Lino (1914-1996). Baptized with the full name António Lino Pires da Veiga Ferreira Pedras, the artist was a Portuguese architect. He graduated from the Porto School of Fine Arts and a member of the Movement for the Renewal of Religious Art – a group of both laity and religious devoted to updating contemporary Portuguese religious art as affronted by Modernist zeitgeist. Nearly symmetric – the subject’s one side reflects the other, but with difference in certain details. One would notice the strong modernist appeal, the loosed pants and the rest of shabby urban apparel. At foreground are muscular men in white slacked pants and sleeveless shirt, while both are wearing veils – hence, wearing mystic and androgynous impressions. Interestingly, the red ground against black horizon – in bold and solid colours – is actually a reference to Anarcho-Syndicalism. Anarcho-Syndicalism speaks of the
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revolutionary unionism of the working class to topple the economic, social, and political privileged few. Confederação Geral dos Trabalhadores Portugueses or CGTP, established in 1970, reverberates this anarchist philosophy yet strongly influenced by Marxist-Leninist discourse of the Portuguese Communist Party. Antonio Lino’s attempt to honour and represent the working class’ radicalism can be ruminated in both form and substance of this piece. Aside from the anarchist content, the use of synthetic canvas is viewed “cheap” in the art market vis-à-vis the traditional cotton canvases. But this selection of less expensive surface speaks of how the artist breaks the bourgeois-oriented art practice. Stable.
PHP 110,000.00
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85 Our Lady with the Child Jesus and St. John the Baptist 26 x 20 cm.
A religious art-piece that is dated 18th century, adhering to the Portuguese school. It is done on copper via oil medium and enclosed in a gilt frame. The three figures depicted here are the Madonna and Child Jesus with St. John the Baptist. In this artwork, Mary is portrayed affectionately embracing both the child representations of Jesus and St. John, with her gazing towards the latter. Jesus, who sits on the lap and gently clings to her mother’s shoulder, also shares a similar stare with the Theotokos. In contrast, St. John is depicted looking the opposite direction, with his arm extended towards the Child Jesus. Such image can be read as an expression of “divine and familial love” similar to Giovanni Lanfranco’s theme in his early 17th century painting, “Madonna and Child with the Infant Saint John the Baptist.” Stable.
PHP 170,000.00
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Portrait of a French woman 80 x 69 cm.
A portrait of a woman with French physiognomy dated back to the early half of 19th century from France. Its painter’s signature is specifically located at the lower right portion of the portraiture, specifically at the lady’s arm near to her elbow. The inscription says, “E.V. 1842” which attribution remains uncertain. But what is clear with the piece is its subject reflects the apparel in French ‘rural-scape.’ Beautifully painted lady wearing white veil over her red garment, she radiates with that porcelain fair skin, rosy cheeks coupled with her rouge lips. Her clarion eyes, reflecting her fascination afar. And her smooth, wavy hair that is as dark as ebony, gives emphasis to her magnificent beauty. With minor defects.
PHP 90,000.00
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Porcelain and Ceramics
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87 Portuguese Ceramic Sculptures of Chickens 70 x 47 x 23 cm.
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Dated 20th century and has a Portuguese derivation. This pair of polychrome figures of a rooster and a hen is a vibrant model of “faience” (tin-glazed ceramic) which was popularized in Italy and France during the Renaissance period. Having a vivid configuration, these sculptures could have been made in Caldas, a city in Portugal known for its colorful ceramics. Chickens, specifically roosters, have always been viewed generally as a “solar symbol.” In Western cultures, diverse viewpoints towards this animal had proliferated. In Europe for instance, the rooster signifies fury. For the Norse culture, it has been attributed to “soldierly vigilance,” a defender of life. In Christianity, it is a symbolization
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of “God-given intelligence” and of “light and resurrection” (de Albornoz & Fernández, 2014). In Portugal, one of its most known emblems is a rooster—Galo de Barcelos (Rooster of Barcelos)—which carries a myth with it. Significantly, this year of the fire rooster, figures representing this blazing Chinese zodiac are believed to attract more prosperity and longevity. A pair of rooster and hen would mean a continuous procreation and birth of more fortune and success. Stable.
PHP 30,000.00
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Herons in Chinese porcelain
34cm x 16 cm.
This magnificent looking porcelain sculpture of a pair of herons on trunk with a wooden base is a 20th century piece from China. Truly a captivating feature is its dominantly bluish trunk ornated with gilt textures, which complements its swerved ,vertical posture. There are also overlapping scallop shells on various sections of the trunk. In Chinese culture, herons are perceived as living on lakes in an orderly yet serene manner. Thus, their name “lù”( 路) also means “way, method, path.” These birds are ommonly illustrated with lotus or “lián”
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(连), which also means “progress.” Thus, herons and lotus together symbolize “success” as in the phrase: lù lián shēng or “may you follow a path of continuing promotion” (路莲升) [see China Sage] Stable.
PHP 40,000.00
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Vista Alegre Porcelain Service Set 32 cm. Qty: 31
A Vista Alegre porcelain service set, dated 20th century. This Portuguese set carries floral, foliage, and fruit motifs, and also has gold application which mainly highlights the borders. As it was manufactured by Vista Alegre, Portugal’s royal factory in porcelain-making, the pieces bear its logo. However, such mark finds no match with their 43 brand logo published which indicates the set’s period of production. This suggests that the items could have been a limited edition, or was made for a specific cause or event. Accompanying the institution’s logo are two other marks: an “X” shape and an oval with texts “Bazar Central,” “Clerigos 78,” and “Porto.” This porcelain set is comprised of 2 tureens, a sauce tureen with under plate, 17 plates of different sizes, 4 trays, a porringer under plate, and a bowl cover. Stable.
PHP 30,000.00
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Pair of Portuguese Tin-Glazed Ceramics 55 x 27 cm. Pair
From Portugal, roughly between the 19th and 20th century. This pair of ceramic vase is floridly filled with polychrome Albarrada-inspired foliage motif and other elements. Such design balances with the pair’s cobalt blue background. Furthermore, these items carry two notable designs: Jorge de Lencastre, Duke of Coimbra’s coat of arms with a dragon figure atop, and an inscription situated at its opposite side which reads “talent de bien faire.” The latter in its literal English translation means “the talent of doing well,” a phrase which served as Prince Henry the Navigator of Portugal’s life motto. Another text, to add, can be seen at the bottom of the vase that hints possibly to its maker: “F.C.D. Battistini de Maria de Portugal.” Stable but with minimal defect.
PHP 100,000.00
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Pair of Oriental style Albarello H: 31.5 cm. Pair
A pair of Oriental style beaker form vases , which is particularly notable for its slender cylindrical porcelain vessel with a wide lid. These pieces are dated back to the 20th century from Italy. Its production has its origins from West Asia. And through centuries of trade with the Far East, Oriental taste has been incorporated [see Pfister, M, Lessico etimologico italiano, 1979, p. 96; Wallis, H., Italian ceramic art, 1904, xii]. Particular to these pieces, the pair carries intricate decorative motifs out of a blue pigment called cobalt. Such motifs are the overlapping sea waves enveloping an almond-shaped medallion filled with varying foliages. At the center of the medallion is a mythical bird (primarily a phoenix) resting on a floral bush. The explicit curves of the ornamentation provide the pieces a feminine appeal, which is balanced by their slender form that heightens a masculine appeal. In generally good condition, but with minor defects.
PHP 60,000.00
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92 Limoges Porcelain Dinner Service Approx.: 41 cm. Qty: 153
Proud with its gilt and bourdeaux embellishments at the friezes, depicting swirling foliages with its primarily Neoclassical revival appeal, this dinner service set of 153 from France carries the brand “LIMOGES” and is dated in the 20th century. An elegantly crafted collection is composed of 12 soup plates, 12 “consommé” cups with saucers, 24 dinner plates, 12 dessert plates, 12 sweet dishes, 1 bowl, 1 plate covered, 4 pairs of sleepers, 2 serving dishes, 1 cup, 1 casserole, 1 ladle, 2 teapots, 2 sugar bowls, 2 milk, 2 dishes for cakes, 12 teacups with saucers, and 11 cups of coffee with 11 saucers. Generally in good condition, but with signs of use.
PHP 200,000.00
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Rococo Revival Style Vista Alegre Tea Service Set Dia: 18cm. Qty: 15
A porcelain tea service set manufactured by Vista Alegre, Portugal’s leading institution in porcelain-making. Predominantly pink in hue, this Portuguese set is filled with floral and foliage motifs, has gold applications, and adheres to the Rococo Revival style. It is comprised of a teapot, a cream jug, a sugar bowl and cover, 6 tea cups, and 6 plates. It bears Vista Alegre’s mark 31 which signifies that these pieces were already in force between 1924 and 1947. In generally good condition, but with minor defects.
PHP 10,000.00
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Sociedad de Porcelanas de Coimbra Dinner Set
28 cm. Qty: 67
A set of 64 china, this lot offers a stylish dinner service set by Sociedade de Porcelanas de Coimbra, carrying gold and green friezes, from Portugal and dates back to the 20th century. This brand arisen in 1930s, and together with the royal brand Vista Alegre (1824) and Electro-ceramics (1919), Coimbra defines what fine quality porcelain means in Portugal. The set consists of 22 dinner plates, 12 soup plates, 12 dessert plates, 12 sweet dishes, 2 coves, 1 bowl, 2 small bowls, and 1 gravy boat. The pieces also bear other marks, such as “TRICANA C.S. A 1”; “COIMBRA S.P. PORTUGAL”; and “José Alexandre,
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Rua Garrett, 8a18, Lisboa.” The last marking signifies the set was distributed by the celebrated Casa Antiga José Alexandre, a one-stop shop of most glamorous service sets of fine cutlery, glassware, and crystals from the famous European brands of “Bacarat,” “Limoges,” “Vista Alegre,” and “Christofle,” established in 1823. With marks of use and have signs of previous restoration.
PHP 50,000.00
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Pair of Vista Alegre Vases 37 cm. Pair
A pair of porcelain vases, dated between late 19th and early 20th centuries. These pieces are crafted by Portugal’s Royal Factory, Vista Alegre, which was established in 1824 and serving the aristocratic taste of many European monarchs, including Queen Elizabeth II of United Kingdom. Aside from the lips and bases, the body of the vessels are also gilded but in the form of medallions. Within which are photographic portraitures of a man and a woman in their old age. Both personalities could be an old couple of a well-off background. Generally in good condition, but with signs of use.
PHP 60,000.00
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96 Pair of French Jars 39 cm. Pair
A fine decorative pair of jars, exemplifying the Vieux Paris (or Old Paris), dates back to the second quarter of the 19th century. These pieces are lavishly filled with gold application that beautifully matches its polychrome embellishment of floral and scroll motifs. Their very form are highlighted by its wide rim with triangular pattern, a lower body adorned with relief handles and protruding oval decor, an octagon-inspired foot, and a square base. A prized item due to the stylishness it projects, Vieux Paris antiquarian objects such as this pair demonstrate the excellence of French artisans, specifically from mid-18th to 19th century, in terms of porcelain craftsmanship. Generally in good condition, but with signs of use.
PHP 110,000.00
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Stoneware Set
26 x 30 cm. Qty: 4
A stoneware set dated 19th century, from northern Europe. This set of four includes three storage vessels and a vase with lid carrying polychrome reliefs of foliages and flowers. The items’ very form, as it seems, draws influence from Baroque and Rococo styles as shown by the acanthus leafinspired feet and handles. The set is typified as stoneware, a type of pottery which is typically opaque and unglazed. Also, stoneware is known to be “strong and hard wearing” as it is fired at a higher temperature (Miller, 2007), making it an ideal utilitarian item. Stable.
PHP 20,000.00
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Pair of Capodimonti porcelain ewers
33cm Pair
Carrying the rich Neapolitan culture, this pair of Capodimonte porcelain ewers dates back to the 20th century. Capodimonte porcelain manufactory was established in Naples, Italy in 1743, which style was influenced by the prominent Meissen porcelain of Germany. The pieces carry various Neoclassical revival elements such as putti, floral and vegetal motifs, painted primarily with green and mauve tones. With marks of use and have signs of previous restoration..
PHP 35,000.00
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Barrigudo 34.5 cm.
Titled as “Barrigudo,” a Portuguese term which means pot-bellied/big-bellied. This ceramic figure sculpture is attributed to Vista Alegre, Portugal’s distinguished institution in terms of porcelain-making. Painted with varied hues, the piece portrays a man with an awkward smile and a prominent nose. He wears, as it seems, a periwig that is partially concealed by his bicorne headgear. Dressed in light blue and violet uniform, he impishly displays his large belly which is covered with florally-designed inner clothe. Furthermore, a goldpainted chain is wrapped around him with a hanging item which bears an equal armed cross symbol. Varied objects situated at the base are noticeable too such as the mask and a string controller for puppets. Bearing Vista Alegre’s mark no. 31, this piece was already in force between 1924 and 1947. Stable.
PHP 90,000.00
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Antique European majolica jar 57 x 53 cm.
A 20th century antique majolica jar of European provenance. It is polychromed with primarily cobalt blue and burnt colours, and further embellished with slip-cast floral and vegetal elements at the vessel’s body. This kind of ceramic work is typical of the Italian maiolica, which influenced other cultures like Portugal, as various Italian ceramic makers also invested in other countries. It should be noted that European’s fascination for the blue colour intensified by early 19th century, when synthetic blue pigment were invented. Since then, many ceramicists happily explored the use of bluecolour that centuries past were devoid of such artistic bliss. With signs of use.
PHP 30,000.00
101
Pair of Holy Water Fonts 67 x 40 cm.
Pair of white ceramic holy water fonts from Italy dated back to the 20th century. Acquasantieras, as these holy water fonts are called in Italian, they pride various relief of motifs celebrated in Christian iconography. A helpful guide on this regard is George Ferguson’s Signs & Symbols in Christian Art (1954). Both pair’s pediment are shaped as a scallop shell, which would signify pilgrimage, a journey of spiritual significance [p. 24]. Each is topped by a fleur-de-lis, a representation of lily, which is the symbol of purity. The flower is also the emblem of the city of Florence [p. 34]. A fish emerges at the center of the shell, which is the most used symbol of Christ. As the Greek work for fish, i.e., ΙΧΘΥC (Ichthys), also stands as an acronym for “Iēsous Christos, Theou Yios, Sōtēr,” which means “Jesus Christ, Son of God, Saviour” [p. 18]. Although, the kinds of religious artefacts used to be placed before at the doors of a local capella, they can be exhibited also in either interior space or at the garden as an outdoor piece. With marks of use.
PHP 50,000.00
auction .0005 2017
www.casadememoria.com
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89
102
Vista Alegre Set of Bird Designed Plates 22 cm. Set of 11
Fascinating set of 11 plates with polychrome decoration of “birds” crafted by the prestigious Vista Alegre, Portugal’s Royal Factory for porcelain and crystals established in 1824. The illustrations represent various species of birds painted in variegated tones. At the reverse side, these dishes carry mark no. 32, which alludes to the period they are in use, i.e., 1947-1968. Thus, the pieces dates back to mid-20th century. With minor defects.
PHP 50,000.00
90
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91
103
Pair of Vista Alegre Porcelain Cachepots 19 cm. Pair
A pair of porcelain flowerpots, dated between the 19th and 20th century. These twin items were produced by Vista Alegre, Portugal’s leading porcelain manufacturer, and bear the aforesaid institution’s mark. It distinctively carries a naturalistic motif as shown by its pink rose relief and complemented by fern green background color. These decorative plant/flower containers embody the world-class quality and character of the “Royal Factory” and definitely add a naturalistic vibe to any home it would be emplaced. Stable.
PHP 40,000.00
104
Colt
10 x 18.5 x 11 cm. A Portuguese sculpture of a colt, or a young horse, typified as bisque. The term “bisque,” or biscuit, has a French origin which refers to “unglazed, white ceramic ware that is hard-fired, non-porous, and translucent” (“Bisque Porcelain Figurine,” n.d.). It is dated 20th century as manifested by the brand logo it carries, Vista Alegre. Aside from the brand’s mark, two more can be seen engraved at the base which shows “AR” and a letter B enclosed in a circle. This particular biscuit piece belongs to the notable collection of the Portuguese royal factory, Vista Alegre, which illustrates the institution’s esteemed reputation in porcelain-making. Stable.
PHP 20,000.00
92
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105 French Porcelain Vase in Sèvres Style 46 x 32 cm. Following the style of Sèvres porcelain, this French porcelain vase is dated 19th century. Notable in this piece is its gilded bronze applications crafted floridly with acanthus leaf motif. While the upper and lower portion is in deep blue sky shade with stylized foliage design in gold, the central section, on the other hand, has a white background and carries a series of wreaths overlapping one another. It has a finial, of which resembles folded leaves with a prominent cartouche, and rests on a gilt bronze base. Stable.
PHP 140,000.00
auction .0005 2017
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93
Marbles and Alabaster
94
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106
Pair of Louis XVI Style Columns
111 x 35.5 x 35 cm Pair
A pair of Louis XVI styled columns composed of rouge de Rance and ormolu mounts dates back to the 20th century from France. A revivalism of the early Neoclassical taste, its ormolu applications carry various motifs such as foliages, festoons, and cherubs. Rouge (or the “red marble�) of Rance is largely popular for its long history of prestigious utility in architecture and furniture alike. In generally good condition.
PHP 170,000.00
auction .0005 2017
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95
107
Untitled
25 x 20 cm (without frame); 43 x 39 cm (with frame) Inspired by the Italian artist L. Zeboni’s 20th century genre painting. Enclosed in a black frame, with an inner border gilded, it portrays an amusing image of an elderly couple. The husband, as can be seen in this piece, fell asleep reading the newspaper “La Chiacchiera” (The Chatter). Such circumstance provided her wife the opportunity to mischievously reach for the old man’s change purse which is located in his lower right vest pocket. Despite the subject similarity, the artist of this unsigned marble mosaic piece effectively laid a modernist treatment as can be observed with the unconventional color combination utilized. Generally stable.
PHP 50,000.00
108
Noblewoman in Alabaster 50 cm.
Signed “A. Cipriani,” this early 20th century bust of a lady in alabaster is a magnificent work of art by the Italian master sculptor Adolfo Cipriani (1895-1930). Known for his numerous works, Cipriani was certainly a prolific artist. In this piece, he playfully sculpted a figure of a noblewoman in her intricately fashioned clothing. With the numerous draperies and piercings required for the reticella and lace sections, as much as the elaborate details of her headdress, a creation of this masterpiece would truly demand a highly talented hand. The delicate alabaster figure stands above a round gilt base. In generally good condition.
PHP 90,000.00
96
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109
Neoclassical Clock in Marble, Bronze and Glass
71 x 42 x 22 cm.
Dated 19th century, this piece captures the form and spirit of the Neoclassical tradition which exemplifies the styles of ancient Greece and Rome. It is comprised of marble, bronze and glass media, thus forming a work of art that has an exclusive composite structure. The bronze figure placed atop the marble framework shows a seated man who seems to be in a state of contemplation. He is surrounded with four corn finials, of which are aligned with the Corinthian-inspired marble columns. Prominent too are the base’s feet that are cleverly crafted as acanthus leaves. The machineoperated clock itself is made of metal, bearing Arabic numerals enclosed in circles. At its back, an inscription can be found which states: “Medaille d’ARGENT 1855 / Vincenti” and numbered “113–8.1.” Such marker points to the French clockmaker, Jean Vincenti, founder of Vincenti & Cie. (Vincenti & Co.). With minimal defect but generally stable.
PHP 60,000.00
auction .0005 2017
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97
Woodwork
98
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110
Goddesses of the Four Seasons
140 x 50 x 32 cm. Set of 4
Fascinating relief sculptures of the four seasons made of wood dated back to the late 19th century from France. These femme sculptures represent the Greek goddesses of the four seasons, known as Horae, meaning “the correct moment or time.” These goddesses were believed to have the governance over the firm laws of time and nature. Quintus Smyrnaeus’s The Fall of Troy (ca. AD 375) named each Horae as: Eiar (Spring), Theros (Summer), Phthinoporon (Autumn), and Cheimon (Winter). Thus, as representations of seasonal aspects, each dominates the precise temporal phases that determines the seasons for good harvest (Spring), for the times with abundance of wheat (Summer), the raining periods befitting for planting (Autumn), and moments when staples should have been preserved (Winter). Each deity differs with their corresponding chromatic upper sections (or fascia) and beam: green for spring, amber for summer, pale rose for autumn, and mauve for winter. The beams are complemented by their gilt edges. Such mythical subject was a repercussion of the Neoclassical preferences of that century. These pieces can be displayed as a series on a wall, as much as these may be complementary over plain home theatre columns. With minimal defect but generally stable.
PHP 300,000.00
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99
111
Pair of Large Wooden Vessels
101 x 73 cm. Pair
A pair of large wooden vessels from Portugal is dated back to the first half of the 19th century. The material is lacquered wood carrying an evident neo-classical theme, that is, its amphoral appeal. Also it has a touch of both Baroque’s acanthus leaves on its friezes and minute Rococo influence’s on its vegetal scrolls by the sides. Thus, its overall composition can be classified as resonating with the demands of the late 18th century Pombaline style, which is a distinct Portuguese art style that blends late Baroque and Neo-classicism. Pombaline art is known for its elimination of all excessive embellishments, which was a reaction to the massive earthquake that hit Lisbon and nearby areas in 1755; thus, explains the preference for restrictive neoclassical taste as well as the use of wood–a more stable material compared to ceramic. In good condition.
PHP 120,000.00
100
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112
Liturgical Artifact 84 x 56 x 17 cm.
Adhering to the Baroque style as demonstrated by its heavy appearance and relief work, this religious item is dated 17th century from Italy. The item has an atypical form as it features a heart-shaped figure at its center while surrounded with rayos and cherub reliefs. Such structure, specifically of the central section, suggests of its purpose as stand for a reliquary. The latter is defined as a storage place/container for relics. During the Medieval period, artistic production of these objects took place which resulted to “complex containers in the form of parts of the body” (Drake Boehm, 2001). As for this item, the reliquary to which it was made for seems already transferred to a different holder. With defects.
PHP 140,000.00
113
Pair of Liturgical Candleholders
180 cm. Pair
A pair of large liturgical candleholders from Portugal dating between late 19th and early 20th centuries carries the style of King Jose I. The pieces are crafted out of wood, then covered with gesso and gilded. The carvings are prominent foliages inspired by acanthus motif. The bulbous form of the vertically oriented material exemplifies the evocation of emotions and expression of grandiosity – both are characteristics of its late Baroque stylization. Locally called in Portuguese as “toicheros,” such Baroque-styled candleholders were traditionally used in liturgical service. With defects.
PHP 180,000.00
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101
114
St. Joseph with the Infant Jesus
44 x 18 cm.
A polychrome wood sculpture of St. Joseph with the Infant Jesus, from Portugal. In this work, St. Joseph is portrayed carrying the infant Jesus, one of the several representations of him in the Christian art. St. Joseph’s garments are painted beautifully with colors of reddish orange, moss green, and gold application. Above his head is a silver rayos with reliefs of laurel and lily, symbolizing the figure’s sanctified status. A revered biblical figure, St. Joseph until the 1600s, was portrayed as an old man. Of which is a contrast of his appearance in this work, resembling the image of an adult Christ. Following the Baroque tradition, the piece is circa 17th century and rests on a marble base. Stable.
PHP 40,000.00
115
Tableux of the Crucifixion 98 x 55 x 30 cm.
Encapsulating a rich history of Portuguese religiosity, this lot is a tableau of the Crucified Christ, together with the Sorrow Mother and St. John the Beloved dated back to the 18th century. The overall composition exhibits the strong influence of the Baroque style during its period, notably with the asymmetrical forms of the figures on wood. Christ’s head is tilted toward his right while looking upon the skies, which would remind the faithful of one of his last words around the ninth hour: Eloi, Eloi, lama sabachthani?” which means, “My God, my God, why have you forsaken me?.” While the figure of the Sorrowful Mother was painted black enveloped with stellar motif, signifying her title as the “Stella Maris” (or Star of the Sea). St. John, whose iconographic symbols are his red mantle and green robe, is known as the beloved apostle to Christ, and later as the Evangelist for his writing of the Gospel and the Revelations. With minor defects.
PHP 120,000.00
102
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116
Jesus Cristo
28.5 cm (Christ); 66.5 cm (total)
A polychrome wooden sculpture of Cristo Moribundo. Such poignant work, to further elaborate, represents Jesus Christ with his head facing the left (perceiver’s perspective) and tilted downward. His body, filled with wounds, is covered only with a draped cloth at his waist, a traditional portrayal of him in this state. The crown of thorns is made of painted metal while the cross and its pedestal are both carved out of rosewood. The rayos and the INRI inscription, on the other hand, have bronze as the very medium. Dated 18th century, this religious piece of art has a Portuguese provenance. With defect.
PHP 100,000.00
117
Niño Jesus
50 cm.
A very old sculpture which speaks of the period it belongs and the temporal challenges it confronted. The piece depicts a clothed image of the Infant Jesus, Savior of the World—gesturing benediction and standing on an orb (a representation of the world) with blue hue application. Furthermore, the piece is interestingly painted with gold instead of the usual black or brown tinge, and indicates influence of the Baroque style as exemplified by the base’s heavy acanthus leaves relief. From Portugal, the sculpture is specifically dated 18th century. With defect.
PHP 50,000.00
auction .0005 2017
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103
Miscellaneous
104
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118
Louis XVI style Ormolu-mounted wooden mantle clock 77 x 31 x 25 cm.
A 19th century wood and ormolumounted mantle clock in tapering pyramid form from France carries the style of Louis XVI. On top of the piece is a surmounted armillary sphere, which is a model of the globe with rings indicating equator, tropics, and other celestial circles. The ormolu metal plates at the body of the pyramid clock represent Neoclassical elements. The plate in front has the figure of Cupid standing on the globe as held by two female figures. The clock at the lower portion has an enamelled dial with Roman numerals. The clock stands on a rectangular plinth with turned feet. Ormolu over dark wood media as used in the creation of this piece perfectly fit a taste of sophistication and aristocratic class. With minor defects.
PHP 60,000.00
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105
119
Multi-light Floor Lamp with Marble base 208 cm.
A mid-20th century multi-light floor lamp, with five (5) arching lamps clustered on a single pole over a round white marble base. Of European origin, the style of the piece is congruent with the Pop Art trend of mid-century Modern period (1945-1970). On the one hand, this piece could be used as an accent piece for a Pop Art inspired interior. This can also be an attractive lighting design on a garden, porch, or balcony especially at night. Although this piece has multiple lamps, the bent neck of its shaft reminisces the famous Art Deco Austrian designer Karl Hagenauer “Flamingo� floor lamp, which was patented and launch in 1950. Generally in good condition.
PHP 50,000.00
106
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120
Set of Secretary Ink Desktop
35 cm. Set of 4
Dated between late 19th and early 20th century, this set of secretary ink desktop is crafted with the mix of silver and wood materials from Portugal. The set includes: a glass ink well, a glass pounce (or bone powder) bottle, tray with penholder, blotter, clip pad, and paper holder. The silver implements are in the style of Queen Maria I of Portugal, which primarily notable for its coquille and acanthus foliages. In good condition.
PHP 80,000.00
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107
Crystals and Glasses
108
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121
Pair of Metal Sconces with Glass Bells
58 cm. Pair
A pair of wall sconces enclosed in glass shades. The latter, styled in bell-shape forms, carry stylized foliage and floral motifs, as well as series of spikes made of brass. The backplates are designed with shell motif while the arms are shaped in an S-scroll manner, indicating a Rococo revival influence of these pieces. Resembling a sunflower, the holders are attached with artificially-made candles to complete this work. From Portugal, the pair is dated between the 19th and 20th century. Generally stable.
PHP 130,000.00
122
Louis XIV style mirror
123 x 85 cm.
Flourishing floral and vegetal motifs graced this French mirror, which embodied symmetry points to the style of Louis XV. The larger portion of the mirror is cut as oval, which is embraced by 4 other mirrors in asymmetric cuts; thus, providing the piece its nearly-rectangular shape. Its symmetric gilt wooden frame was crafted in the form of acanthus ribbings, which is accentuated by a rich embellishment of flames and foliages along the edges. The upper section is crowned with a minute cartouche topped by a big, but proportional to the piece, Rococo feather--a key motif in the mid-18th century French furniture (Butler, 2009, p. 208). These are further surrounded by swirling foliages and topped by floral elements. Generally stable.
PHP 90,000.00 PHP 90,000.00 auction .0005 2017
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109
123
Louis XV style Antique Mirror
179 x 84 cm.
This antique mirror with gilt wood frame is from France and carries the influence of Louis XV style. This French looking glass is elaborately crafted with its curvaceous framing. It is further embellished with intertwining swirls of floral foliates along the wooden sections, creating a magnificent framing to this glasswork. Generally stable.
PHP 110,000.00
124
Louis XV Style French Mirror 97 cm.
An 18th century French mirror in Louis XV style. This finely-crafted piece is strikingly curvaceous in form, of which highlighted by its gilt wooden frame. Following Louis XV’s taste, it is notable how the mirror’s very frame is adorned with Rococo elements such as the curved acanthus foliage and floral motifs which becomes heavier at the top. Since its development, mirrors have become an essential tool
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of humans. These were considered as expensive and prized pieces due to its difficulty of production. Mirrors also served as an indicator of one’s wealth and social position in Europe during the earlier periods (i.e. 18th and 19th century). Stable.
PHP 100,000.00
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125
Tall Italian Mirror 203 x 84 cm.
Dated between the late 19th and early 20th century, this tall mirror of Italian origin carries the boldness of traditional European craftsmanship. Seemly an estrangement, yet a striking arched floral ornament is colourfully painted on the upper right corner of the mirror. Such an ornament suits to the series of acanthus motif carved along the mirror’s mahogany wood frame. The late 19th century recollects the age of revivalism in furniture-making and the artists’ turn to nature for inspiration. The pediment’s cartouche notably shows a heavily elaborate carving, which characteristic is an invocation of the Baroque stylization. At the pediment’s center is a high relief bust of a stag. With minor defect.
PHP 80,000.00
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111
126
Renaissance Revival styled Mirror
130 x 76 cm.
A revivalism of the Renaissance style, this antique rectangular mirror in black wooden frame is dated back to the late 19th century. Its wooden frame is either made of ebony or lacquered in black, so to complement its ivory inlays, which are crafted in the Renaissance Revival style. Notable are the matching penwork that gives further details to the humanist appeal of the ivory features. Figures of vegetal motifs in swirling fashion, which are centred on the masks, are encapsulated by linear contours. Its open-arched pediment points its style to the Italian taste around 1880s. Generally stable.
PHP 130,000.00
112
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127
Baccarat Glassware
36 cm (larger bottle) Qty: 103 Baccarat glassware set carrying engraved ornamentation of pearl garlands. These exquisitely crafted pieces came from France and dated early 20th century. Situated in north-eastern part of the aforesaid country, Baccarat is notable as a leading center of fine crystal and glass production. This particular set is composed of 10 champagne flutes, a cheese dome, 10 water glasses, 12 liqueur glasses, a pair of jugs, 12 red wine glasses, 6 bottles, 11 white wine glasses, a pair of compote-bowls with stands, 12 punch cups, 3 fruit bowls, and 9 sherry glasses. Stable.
PHP 150,000.00
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113
128 Lalique Art Deco style Vase 17 x 20 x 13 cm.
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Elegantly crafted with relief decorations in Art Deco style, this molded glass vase is marked “Lalique-France� and is dated 1978. The curvaceous bell-shaped figure of the vase gives the piece its strong feminine appeal. Striking features of this particular lot are the relief embellishments which appear as a series of globule flowers arranged over parallel foliate stripes. Generally stable.
PHP 90,000.00 www.casadememoria.com
auction .0005 2017
129
Italian Crystal Centerpiece
17 x 53 x 20 cm.
This crystal centrepiece is made in Italy. The item’s very form seems to be natureinspired as it resembles a stylized leaf. Even with its simplistic look, the piece is accentuated by the curvilinear detail as well as the border and the base’s gold application. Approximately between the 19th and 20th century, this Italian highlight piece is a stylish addition to one’s home due to the European ambience it provides. Stable.
PHP 25,000.00
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115
130
Portuguese Glass Figurative Bottles
38 cm (Vasco da Gama figure) Qty: 11
Precisely crafted from glass, this set of eleven dates back to the mid-20th century. Each piece represents different Portuguese figures like Vasco da Gama, a distinguished maritime navigator and explorer between the 15th and 16th century. One of his notable accomplishments was the discovery of a sea route to India which became pivotal in establishing connections between East and West. Several brand marks are identified in this glass bottle set which include “Esmeralda,” “Martins Lda,” “Vencedora,” and “Amadeu Rocha.” Stable.
PHP 100,000.00
116
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117
131
Empire Style Sac a Perles Chandelier
100 x 50 cm.
Elaborately configured with crystals of varying form: quasi-pendeloque, tear-shapes and octagon. Such craftsmanship of the medium offers visual spectacle and classy illumination to any home. Originating in France, this chandelier adheres to the Empire style and carries the form of “sac a perles,” which means “bag has pearls.” The very framework of the item, that is brass, is detailed with foliage bas reliefs and a series of protruding sculptural work of acanthus leaf around the main basket. The top, on the other hand, is decorated with crystals taking the form of garlands. This French chandelier is dated 20th century. With minor defects.
PHP 120,000.00
132
Murano Chandelier
170 x 150 cm.
Of Italian provenance, specifically Murano, dated 20th century. This exquisite glasswork, embodying refinement of Venice’s Glass Island products, is filled with elaborate and distinctive details. The crystal chandelier is attributed to Zanchi Factory, and was crafted through the method of glassblowing. As seen in this piece, a pineapple-like motif dominates its entirety along with the foliage and floral decor (with portions as colored), and metal framework which exemplify luxury and Murano craftsmanship. Stable.
PHP 350,000.00
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133
French Crystal Chandelier 87 x 44 cm.
An epitome of sophistication and artistry, transcending the utilitarian purpose of typical chandeliers. This French crystal chandelier bridges the traditional and the modern, capturing essential qualities of the two aforesaid. Such piece provides more than illumination as it is configured with crystal glasses comprised of varying shapes like octagon, quasi-pendeloque, and tear-shapes. Dated 20th century, the piece is a fine result of the French Empire revival style and the modern form convergence. Generally stable.
PHP 80,000.00
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119
134
Lalique Osmonde Crystal Vase
20 cm.
Originating in France, a finely crafted osmonde crystal vase by Lalique. The art-piece carry meticulous cut details of fern leaves which dominates its lower half portion and accentuated by linear/curvilinear motifs. Lalique, established in 1888 by René Lalique himself, is recognized as the “ultimate symbol of French luxury” (“Lalique, More Than a Name,” n.d.). From then until now, Lalique strongly holds a distinguished reputation within and outside Europe due to its continuous production of premium and artistic pieces ranging from decorative items, jewellery, and most importantly, glassworks. Stable.
PHP 90,000.00
120
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135
Fancy Barware and Cocktail Glasses
24 x 34 cm. Set of 40
A set of 40 barware and cocktail glasses which dates back to the mid-20th century from Europe. The set consists of 11 clear stemmed V-shape, 11 red stemmed V-shape, 12 clear martini glasses, 3 clear long-stemmed V-shape, and 3 short-stemmed V-shape glasses. Perfect for drinking, these glasses are fashioned with minimal sunburst cut at the bottom section of the vessels, giving the pieces an added refractive property. Generally in good condition.
PHP 15,000.00
auction .0005 2017
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121
136 Pair of Queen Maria I style cobalt glass bottles 24 x 10 cm. Pair
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19th century pair of cobalt blue glass with decorations in the style of Queen Maria I of Portugal (1777-1816). Ornaments are in Neoclassical fashion of festoons and floral elements in white and golden ochre enamel paint. The deep blue colour of the glass exudes a high taste of elegance, which reflects the aristocratic feel of the United Kingdom of Portugal, Brazil, and the Algarves. Generally in good condition.
PHP 60,000.00
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137
138
Lalique Molded Glass Bowl 9 x 25 cm.
Made of molded glass, and of French provenance, this bowl piece is richly decorated with bird reliefs at its rim. Its main body, on the other hand, is styled with decorative edging (i.e. series of concave curves) as to contrast the upper section’s details. Attributed to France’s leading institution in glass art which is Lalique, this piece is dated 20th century. Founded in the late 19th century by René Lalique, the institution serves as the “ultimate symbol of French luxury” as exemplified by their finely crafted pieces mainly glasswork, jewellery and other decorative objects. Stable.
PHP 70,000.00
137
Crystal and Gilt Bronze Wine Cooler in Jose I style
34.5 cm.
Magnificently crafted crystal vis-à-vis gilt bronze in King Jose I style (Baroque style in Portugal), this highly sophisticated wine cooler is a work of art by Antonio Maria Ribeiro (1889-1962). The piece bears a thickly fashioned glass crystal embellished with ogee cuts throughout, which maximize its crystalline refractive properties. This is framed by the gilt bronze stand that carries intricately designed reliefs, both high and low. This particular material is predominated by King Jose I style, that is, the Baroque zeitgeist as translated in Portuguese cultural configuration. Its “triploid” structure starts with a high relief fox heads gracing the lips of the glass. Each stretches down with blade-shaped stems carrying vegetal motif. And its base is similarly in a triadic fashion, notable for its massive acanthus detail above a geometricrestrictive base. Antonio Maria Riberio is regarded as the single most important goldsmith in Portugal of the last century. His craftsmanship is defined as the revivalism of a national identity through a remarkable gilt artistry. He is considered as one of the greatest exponents of an eclectic revivalist impetus in Portuguese elite art, especially jewelry. His works of art resonate the relived spirits of Gothic, Manueline, up to the Art Deco stylizations of his time [see PintoTrancoso, T.M., António Maria Ribeiro: Cinzelador, Ourives, Escultoree Desenhador Portuense, 1889-1962 (2011)]. Generally stable.
PHP 50,000.00
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123
Ivory
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139
Chinese Ivory Sculptures
101 x 13 x 11 cm. Pair
A pair of polychrome ivory sculptures of a Chinese high-ranking figure and, as it seems, a guanyin from the Tang dynasty. Such intricately carved pieces are dated early 1900s and has Guangzhou as its provenance. Unlike other ivory works, what makes this pair exceptional is their equally-detailed back portion which illustrates an Oriental dragon motif. They also have bases to serve not just as stands but also to avoid unforeseen damage. The Tang Dynasty, which existed from 618 to 907 A.D., is considered as a “golden age of reform and cultural advancement” (Mark, 2016). During this period, China thrived from trading via Silk Road and experienced increased cultural contacts with the West, of which became influential in the trajectory of China’s socio-cultural history. Stable.
PHP 800,000.00
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125
140
Sadeli Box
13 x 38.5 x 28 cm.
Reliving Oriental heritage with a refined style, this Sadeli box from India, which dates back to the 19th century will befit such a requisite. This particular piece is a travel desk in wood, with cylindrical and linear geometric designs, together with ivory plates covering the rest of the space on panels. Its upper tier has an interior which is interestingly divided into several compartments. While the lower tier can be folded out, with which its inner panels are covered with purple velvet fabric– indicative that the piece was designed to serve the British Imperial taste. Sadeli boxes were commonly mistaken for inlay work, but their composition is actually a form of marquetry work. Its ornamentation uses ivory, horn of plain or green and blue
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colors, black ebony, red-wood, and tin or silver, which are done to elegantly cover the surface of a wooden material. Also known as Bombay boxes, their production was centered on Ahmedabad, Baroda, Surat, and popularly on Bombay – hence the name. This distinct stylization is an influence from Persia, particularly from its city of Shiraz though Sind, which dates back around 1600s. The old palace of Nurber has some of its doors carrying this style. With defects.
PHP 80,000.00
www.casadememoria.com
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141 Anglo-Indian Sadeli Sewing Box 14 x 32 x 23.5 cm.
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Exquisitely crafted sewing box from the 19th century, of Anglo-Indian provenance. Known as Sadeli box, this intricately-detailed woodwork serves as either sewing or writing compartment. The piece is specifically made of sandalwood, ebony and other woods, pewter as the only metal medium, and profusely inlaid ivory. Its cover has an elevated mid portion and carries a mixture of geometric patterns like triangles, circles, and semi-circles. The interior is configured with a removable tray (with sewing velvet cushion) and several partitions; its exterior, on the other hand, has two side handles and uniquely styled with four claw feet.
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Sadeli marquetry is a micro-mosaic art associated in India with centers located Bombay, Ahmedabad, Surat, and Baroda, however, traces its origin in Persia (Watt, 1903:156). It features a repetitive or varied use of geometric patterns by combining the aforesaid media. Aside from the fluted friezes, miter joints, as can be observed, indicate precision of work. Sadeli boxes from India were prized items in 19th century Britain, the birthplace of industrial revolution. With defects.
PHP 100,000.00
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142
Chinese Ivory Vase with Silver
39 x 14.5 x 11 cm.
A Chinese ivory vase with silver rim and base, from the Qing dynasty, dated between the 19th and early 20th century. The piece’s entirety is dominated by elaborate reliefs of China’s mythological dragon. It also has stylized foliage motif which circles the vase’s shoulder portion, and two drop handles attached to its neck. In Chinese culture and mythology, the snake-like dragon is viewed as a symbol of power and of the emperor. It is believed that the latter descended from this mythological creature, which explains dragons’ revered image in their country. With defect.
PHP 250,000.00
143
Wooden cabinet with engraved ivory inlays 35 x 44 x 23 cm.
This elegantly crafted Italian cabinet with engraved ivory inlays on rosewood material dates between the late 19th and early 20th centuries. It is done in an eclectic manner with allusions to the Renaissance Revival style. Notice the attention given to the swirling and foliate details of the engraved inlays, as well as the centrality of an ivory medallion of a gentleman’s bust in Renaissance fashion. Interestingly, the wooden cabinet has a little mixture of geometric elements, as seen on its juxtaposed borderlines and embellishments on other panels. Preference for geometric ornaments can be traced back to
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the Arabic influence that has been infused unto Italian art through its Southern region. At the bottom of the uppermost drawer is an stamped inscription “Curzio Samori intarsiatore incisore sdrucciolo de Pitti, FIRENZE 7.” Generally in good condition.
PHP 120,000.00
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144
Saint Michael the Archangel triumphs over the Devil
34.5 cm.
The ivory sculpture is a representation of Saint Michael the Archangel triumphs over the devil, which dates back to the 18th century Portuguese school. The figure of the archangel is suited with Roman armour, particularly in chain mail which appearance resembles scales. The angel appears muscular with the bulkiness of its physique. There also seems an attempt to bring its posture in contrapposto. The V projection of its wings provides an added downward impetus to its representation of crushing the basilisk under his feet. The Basilisk’s resemblance to gargoyle and the flamberge (or wavy-bladed sword) are evident influences from the Germanic school. The ivory figures of the archangel and basilisk stand over a three-tiered wooden Baroque base. Generally in good condition, yet a fragile piece.
PHP 360,000.00
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146
Sino-Portuguese Madonna and Child in Ivory
145
25 x 8.5 x 7 cm.
Virgin Mary 13 x 4 x 3.5 cm.
A Portuguese ivory sculpture of the Virgin Mary, roughly between the 19th and early 20th century. In this work, the mother of God is portrayed in a standing position, with her hands enjoined before her heart (i.e. praying hands posture), a gesture which for Christians connotes submission, repentance, obedience, and sincerity. Furthermore, the artist presented Mary wearing a mantle and an inner garment, her iconographic depiction in the Christian art. Noticeable too is the rosary emplaced in her forearm and the roses scattered at the base—other attributes symbolizing the Virgin Mary.
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In Sino-Portuguese style dated between late 18th and early 19th centuries, this religious image of the Madonna and Child celebrates the admixture of Western Christianity with Oriental craftsmanship. The ivory Madonna resembles the image of Guanyin, a central deity of beauty and compassion in Chinese culture – notable for her soft, wavy, floating drapery. The almond eyes of both mother and child figures corroborate this attribute. Their octagonal base speaks for the influence of Buddhist eight-fold path, as much as it spaks of the central section where the figure stands as the 9th space. It should be noted that number 9 in Chinese numerology holds divinity and eternity. The Imperial palaces and the Temple of Heaven in the Mainland were constructed following the rule of number 9.
Stable, with minimal defect.
Generally stable.
PHP 60,000.00
PHP 90,000.00
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147
148
11 x 14 x 11 cm.
12 cm. Pair
Ivory with Bas Relief
Pair of Ivory Giraffes
An antique African ivory cylindrical piece dates back between the late 19th and early 20th century. While it is hallowed in its interior section, the piece’s external surface carries intricate bas relief of flora and fauna motifs. Particularly noticeable are the animal figures such as elephants, antelopes, and two others. The complexity of the carving technique and the nearly-realistic impression of the animals and trees reveal the attachment of African culture to Nature, especially to the Mother Earth -- as they ascribed her many names, such as: Asase, Ala, Ison, among others.
Portraying a pair of giraffe figures, dated early 1900s. These ivory sculptures have a Portuguese provenance as it is formerly part of Reinaldo Rosa’s collection, an antique enthusiast. Giraffes belong to the mammalian class and considered as the “tallest land animal” which can be attributed to their extensive neck. In physical anthropology, giraffes are often cited as one of the examples to clearly explain how evolution and/or adaptation work. Presently, this animal has a threatened (vulnerable) status according to International Union for Conservation of Nature.
With minimal defects.
Stable.
PHP 40,000.00
PHP 40,000.00
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149
Lion Attacking Gazelle
Wt: 11.5g
Well-carved from a creamy, pale ecru to nearly white ivory material, this antique piece represents a lion preying a gazelle. This animalesque representation is dated between late 19th and early 20th century and can be traced back to its predominantly African influence. The asymmetrical size of the lion to the gazelle speaks of the imbalance relationship among the beasts in the wild. The depiction of the lion above the gazelle, as much as its larger scale, alludes to its superiority versus the latter creature of notable frailty. On the
150
Elephant
13 x 21 cm.
Remarkably sculpted as shown by its active and imposing figure of an
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one hand, this can be a social allegory to the persisting asymmetries in many societies and polities. On the other hand, it can also be a psycho-cultural symbolism of an intra-personal struggle. That is, a person’s inner lion devouring his or her own internal weakness. Lion
elephant. African in origin, this early 20th century work of art is signed by its artist, S. Dzikiti. The piece also has a Portuguese provenance as it previously belonged to a Portuguese collector named Reinaldo Rosa. Except for the mammal’s body which bears a
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is a widely celebrated icon of bravery across many cultures. Stable.
PHP 50,000.00
smooth surface, the rest of it has been engraved with linear patterns (i.e. head portion) as well as depressions in the base where it stands. Ivory traditionally refers to elephant tusks; however, as pointed out by Espinoza and Mann (1991), “the chemical structure of the teeth and tusks of mammals is the same regardless of the species of origin.” Considered as a highly-prized item due to its durability and functionality, ivories hold economic and cultural values both in Western and Eastern societies. Stable, with minimal defect.
PHP 45,000.00 auction .0005 2017
151
Set of Three African Sculptures
7 cm. Set of 3
African in theme, Portuguese in provenance. This set of three ivory bust sculptures illustrate indigenous figures from the continent which is considered, as far as evolutionary perspective is concern, the “cradle of humanity.” Just like Asia, Europe, America, and Australia, Africa is ethno-linguistically diverse. It is the home of approximately 3,000 languages and covers an immense scale of Earth’s biodiversity. These ivory figures reminds us of the Bushmen, also known as !Kung and/or San people, of the Kalahari Desert who are the living proof of human’s earliest form of subsistence and socio-economic structure—the hunting-and-gathering society. These ivory sculptures are dated early 20th century. Stable.
PHP 40,000.00
152
African Ivory Male Bust H: 13.5cm
This ivory sculpture represents a bust of an African man is signed “Mutedzi” from Zimbabwe and dated back to the 20th century. The male figure has fine lines in his face, signifying his old age. His earrings and necklace as both embellishments would signify his person was regarded with honour in their community, particularly as a chieftain. The thoroughly defined texture of his hair and beard provides a contrasting feature to the well-polished skin sections. Stable.
PHP 50,000.00 auction .0005 2017
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153
154
11 cm.
H: 12 cm.
Female Bust
Male Bust
An African ivory sculpture of a female figure, dated early 1900s. The subject, as exemplified by her physical features, seems to represent an indigenous group from Africa. She has a rounded face, with broad nose, thick lips, and coiled, kinky hair, which are distinct characteristics of African biological taxon. A necklace and a pair of earrings, to add, are also visible in this piece which tells about their traditional form of jewellery.
A figure of an African man on ivory dates back to the early 20th century. The African man is delineated with fine lines in his forehead, with a full cover of beard and moustache, thick lips, and serious looking eyes. The attention given to the crafting of the porous details on the hair areas are a truly remarkable trait this piece’s anonymous artist. Generally stable.
PHP 45,000.00
Stable.
PHP 45,000.00
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155
Female Figure with Child
22 cm.
An African sculpture in ivory, crafted during the early 20th century. It depicts a feminine figure, a mother as it seems, in a kneeling posture. Donning loose native clothes and a headdress, the woman bears an unsolved facial expression which could stimulate curiosity to whoever beholds this work. Shifting the gaze to the figure’s rear, a child in swaddling clothes is strapped to her back, illustrating the profound mother-child relationship before and after an individual’s birth. The piece carries the signature of its artist, M. Chikumbirike, and formerly owned by Reinaldo Rosa, a Portuguese collector. Stable.
PHP 60,000.00
156
Pair of Antelopes
11.5 cm. Pair
A pair of antelopes sculpted in ivory dates back to the early 20th century from Africa. One of the antelopes is crafted with its neck raised up, which its hind relatively elevated compared to its lowered front limbs. Thus, it gives the figure a younger and more feminine appeal. While the other antelope has
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longer hair, bolder in figure; ergo, impresses an older and masculine character. In partially good condition.
PHP 50,000.00
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157
Barco
70 cm.
An early 20th century Portuguese sculpture which exemplifies ingenious ivory craftsmanship. The artist deviates to the usual human/animal figures as well as religiously-themed carvings, and instead, fashioned a ship model. It specifically resembles a corvette, a type of British warship during the 16th to mid-19th century with dimensions smaller than a frigate and mainly used for maritime survey. A symbol of Western and maritime power in the Age of Discovery, ships vis-à-vis with technological innovations at that time, were essential to Europe’s rise to power, territorial expansion, and overseas trade. As for the piece, it is worthy to note that the masts carry the fused symbol of St. George’s, and St. Andrew/St. Patrick’s cross, thus appearing to be United Kingdom’s Union Flag. Stable, with minimal defects.
PHP 160,000.00
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158
Wild Animals 7 cm. Set of 5
Representing the wild life, these ivory pieces have a Portuguese provenance and dated early 20th century. The set is composed of five mini models of a Cape buffalo, two rhinos, and two hippos. All belonging to the mammalian class, these largesized animals are known for their herbivorous nature. They are also terrestrial though hippopotamus is typified as “semi-aquatic.” Except for the Cape buffalo, rhinos and hippos are both designated under the “threatened” status by the International Union for
Conservation of Nature (or IUCN). The ivory set is formerly part of Reinaldo Rosa’s collection, a Portuguese antique enthusiast. Stable.
PHP 50,000.00
159
Ivory Figures of Hippos and Rhinos
Approx.: 4.5 cm. Set of 8
A set of eight (8) ivory figures depicting rhinoceroses and hippopotamuses, crafted out of African ivory dated back to the early 20th century. Mesmerizingly carved from this creamy, pale white, porcelain-like material, the images of the two creatures were differently illustrated. The rhinoceroses of seemly different ages and shapes are in their full body form, while the hippos are carved only with their upper
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half, signifying their usual immersion on rivers. Such representations pronounce their different habitat and lifestyles as they can be found in the vast sub-Saharan region. With small defects.
PHP 40,000.00
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160
Set of 9 Chinese Mythical Creatures
4.5 cm. Set of 9
Set of nine (9) different Chinese mythical creatures carved and penned on ivory, dating back to late 19th century. Possibly netsukes, this set includes 1 dragon, 2 dogs, 2, turtles, 1 rabbit, 1 pig, 1 paired rat & owl, and 1 paired rats. Dragon, dog, pig, rat, and rabbit are commonly known as part of the Chinese zodiac. Turtle represents the Southern spirit, invoking guardianship and wisdom. Owl, since the pre-historic Chinese period, is an icon seen in shamanic artifacts. Red fancy stones were used as eyes for the rats and the owl; while others’ are inked. These pieces are dated in the late 19th century; whereas
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the red stones could be later implements. Different carvings express the evocation for a realistic portrayal; yet these carvings are also exaggerated in form. Such a paradoxical composition evokes these creatures’ ambivalent positions as mythical vis-à -vis the natural. Generally in good condition.
PHP 30,000.00
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161
Japanese fishermen in ivory 31 x 20 x 13 cm.
Beautifully polychromed by penwork, this ivory sculpture depicting two Japanese fishermen dates back to the 19th century. Japanese as they wear chonmage (traditional male top-knot haircut), the two old men seem happily conversing after a great catch of fish. To wit these fish are large in size, which can signify abundance and prosperity in Chinese culture. However it is interesting to find an inscription in Chinese calligraphy at the base, 朱氏, which means, “Zhu family;”although the other character is undeciphered as it is written in old Chinese. This could signify that the ivory sculpture used to be owned by a family bearing the name Zhu. Significantly, the surname Zhu ( 朱) traces back its origin to the four emperors of the Ming dynasty–giving this piece a share of narrative about imperial history. Generally in good condition.
PHP 80,000.00
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139
162 Ankara Dancer 45 x 24 cm. Arguably one of Claire Jeanne Roberte Colinet’s magnum opus, the “Ankara Dancer.” It impressively illustrates gracefulness, strength and versatility— qualities which fittingly embodied by this feminine figure. She is portrayed with her body in a downcast position, right arm outstretched rearward while the left hand supports the head; the right leg is raised as opposed to the other which strongly maintains her steadiness even with a tiptoed stance. The foot, as seen, is accentuated by an active snake, thus making it more enchanting. This bronze and ivory sculpture of Colinet has several distinct copies, of which all crafted by herself. One of these was sold at Christie’s in 2007. Claire Colinet was born in Belgium in 1880. She later moved in Paris to study sculpture and make a way into the world of visual arts. Greatly influenced by the Art Deco style, most of Colinet’s works carry the restrictive and machine-like form. However, such portrayal of human figures, specifically female dancers, only contributed to the beauty and exceptionality of her sculptures. Generally in good condition.
PHP 480,000.00
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163
The Four Great Beauties 41 x 46 x 11 cm.
Produced out of a remarkable artistry coupled with great attention to the details of both carving and penwork, this ivory sculpture over a wooden base dates back to the 19th century. This rare masterpiece depicts the Four Great Beauties of China. These feminine figures lived in four different periods of Chinese history: Xi Shi of the Spring and Autumn period (7th to 6th centuey BCE); Wang Zhaojun of Western Han Dynasty (1st century BCE); Diaochan of the Eastern Han period (3rd century CE), and; Yang Guifei of Tang Dynasty
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(719-756 CE). Xi Shi’s beauty is believed to be enticing that fish would forget how to swim. She is depicted here as sitting by the tree. Wang Zhaojun, the lady standing with flute, would allure birds to fall from the sky. Diaochan, the other standing lady carrying a ruan or moon-shape lute, has an illuminating beauty that would eclipse the moon. And Yang Guifei would shy away the flowers, as she is depicted here sitting with the flowers nearby ashamed. With all the intricacies of craftsmanship, especially the suspended branches
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of the tree right above the Great Beauties, this could have been crafted in Guangzhou, the centre of excellent Chinese ivory carving. In good condition.
PHP 420,000.00
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141
164
Mid-Georgian Style Settee
103 x 134 x 60 cm.
This piece is a mid-Georgian style settee with cabriole and shell legs, which dates back to the 18th century Great Britain. It prides their serpentine-topped back rail which softens its rectangular shaped. This was complemented by the Rococo implements, such as its cabriole and shell legs (ca. 1720-1760) with mix of vegetal elements, crafted with mahogany wood – the preferred material at the time. Its yellow minky dimple dots over aqua seat, back, and arms provide a compatible modern appeal. Generally stable, with signs of use.
PHP 60,000.00
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165
Queen Anne style side chair with Dutch marquetry splat
115 x 51 x 46 cm.
This side chair was fashioned in Queen Anne style infused with Dutch marquetry back splat, dated back to the 18th century Great Britain. Its attractive back and side splats carry marquetry that depicts floral and vase motifs, indicating the infusion of Dutch influences. This was warmly complemented by the rougue ogees over ecru as the motif of its seat’s cushion. While the solid vase-shaped was typical of Queen Anne’s furniture style (1702-1714). Preceding her reign was the enthronement of William of Orange after the bloodless Glorious Revolution of 1688. Being Dutch himself, William’s cultural origin brought its influence in England’s interior aesthetics, especially on furniture. This was further refined and softened during Queen Anne’s period, which made her period renowned as the “first great period”in the history of English furniture. This style named after her, despite the monarch’s 12-short years of reign, left an immortalized legacy which beauty is still celebrated today in Great Britain as well as in the United States [see Bachhawat, 2015]. Generally stable, with signs of use.
PHP 20,000.00
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166
French Fauteuils
114 x 77 x 74 cm. Pair
An expression of elegance and gracefulness, this pair of fauteuils adheres to the Rococo revival tradition. The furniture’s very structure is adorned with reliefs, of which foliage and floral designs. Such handmade carvings accent the chairs’ top rails and the aprons’ mid section. The arms meet the seat’s front; however, the supports are configured in a curvilinear form which makes it appear as slightly set
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back. Aside from these, the pair also has cabriole legs and upholstered seats, cartouche backs, and armrests which carry floral ogee ornamentation. From France, dated 19th century. Generally stable, with signs of use.
PHP 160,000.00
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167
Pombaline style green and Parcelgilt Mirror
125 x 96.5 cm. Pair
This antique mirror in wooden frame, with parcel-gilt and green paint, dates back to the 18th century from Portugal. The artefact carries the influence of Pombaline style. Pombaline style was the Portuguese distinct re-appropriation of the neoclassical taste, notable for its extreme restrictive aesthetic measures. It was a reactionary art-expression after the Lisbon earthquake of 1755, when architectural works were restricted
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from being too flamboyant. Most of the works that time, such as this furniture, were made of wooden materials. The idea was to preserve them from falling despite shaking during earthquakes. In spite such restrictions, the piece at hand still demonstrate beautifully painted gilt floral motif with notable fleur-de-lis at four corners surrounding the oval mirror. Its columns carry vegetal motif
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that complement its olive green colour. It also has gilt festoons gracing its top frieze, as well as gilt gadroonings on both its upper and lower edges. Generally stable, with signs of use.
PHP 120,000.00
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156 Jupiter cor. Comet Street, Brgy. Bel-Air, Makati City, Metro Manila, Philippines
Terms and Conditions Casa de Memoria (hereinafter, “CDM”) will conduct its business activity in accordance with these Terms and Conditions of Sale and any other terms and conditions that are individually specified. CDM will act as an agent for the sellers of the Lots sold at auction. The seller shall be solely responsible to the buyer for any breach of the contract of sale. However, in instances where CDM owns a Lot, it shall act as seller and the contract of sale will be between CDM and the buyer.
Article 1: Objects The present Terms and Conditions of Sale regulate the business activity of the company, CDM, and govern and contractual relations established with it.
Article II: Definitions In these Terms and Conditions of Sale, the following definitions apply: a. Catalog- All and any of CDM’s advertising, brochures, price lists or any other publications, regardless of their nature. b. Buyer’s Premium- The commission charged on a purchase, calculated as a percentage of the Hammer Price and paid by the Buyer at the Applicable rate. c. Sales Commission- The commission charged on a sale, to be deducted from the Hammer Price and borne by the Seller at the applicable rate. d. Buyer- The person who has presented the highest bid at the time of the Hammer Price, represented directly or via a third party, in accordance with these Terms and Conditions of Sale.
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e. Expenses- The costs incurred by CDM, according to price list, in relation to the sale of any lot, associated with catalog fee, illustrations, publications, advertising, restoration, insurance, packaging, storage and transport, of the lots plus VAT applicable to such Expenses. f. Total Amount Due- The Hammer Price of a sold lot, plus the Buyer’s Premium and any eventual additional charges and expenses due from the Buyer in the event of non-compliance, in accordance with the provisions established in Articles 10 & 11. g. Original Works of Art- Corresponds, under the terms of the Berne Convention & International laws, and The World Intellectual Property Organization Copyright Treaty (“WIPO Copyright Treaty,”) to works of graphic or plastic art, such as pictures, collages, paintings, drawings, engravings, prints, lithographs, sculptures, tapestries, ceramics, glassware, and photographs, provided they are made by the artist himself or are copies considered to be original works of art, and should be numbered, signed or in any other manner authorized by him. h. Hammer Price- The price for which a lot has been adjudicated by the auctioneer to the corresponding buyer. i. Amount Due- The net amount owed to the seller,
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i.e the Hammer Price of the sold lot minus the Sales Commission at the Applicable Rate and the Expenses and any other amounts that the seller owes to CDM on any basis, always subject to the addition of VAT at the applicable rate. j. Applicable Rate- The rates that apply to the Sales Commission and Buyer’s Commission, which are practiced and duly publicized or specified by CDM. k. Seller- the person or entity that signs an auction sales contract with CDM.
Article III: Pre-Auction Viewing and Inspection a. CDM does not perform a full and complete due diligence audit on each Lot. Representations made by CDM about the Lots are based on information provided by the sellers. As such, CDM does not guarantee the accuracy of such information. CDM shall not be liable for any misrepresentation or wrong information provided by the sellers with respect to the Lots. Prospective buyers acknowledge these facts and accept their responsibility to carry out such investigations and inspections as may be necessary to satisfy themselves with respect to the Lots in which they may be interested in prior to the sale. b. The properties to be sold may be inspected by prospective buyers at pre-auction viewings. Prospective buyers are strongly encouraged to personally examine the Lots prior to the sale. c. In accepting bids for Lots, CDM assumes that prospective buyers have undertaken a full inspection of the Lots prior to bidding and that they have verified the condition of the Lots as well as the descriptions. d. CDM and the sellers do not provide any guarantee with respect to the Lots sold at auction. Said Lots are sold on an “as is” basis. All sales are final.
Article IV: Descriptions of Property a. Statements made by CDM in the catalogue or website, in condition reports, or made orally or in writing elsewhere, are statements of opinion. Therefore, these statements cannot be construed or relied on as
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factual representations, implied or express warranties or assumptions of liability. CDM and the sellers shall not be liable in any way for errors or omissions in the catalogues or any supplemental material. Buyers have the duty to satisfy themselves about the condition of the Lots sold at auction and the matters referred to in the catalogue entries. b. References in the catalogue entry or the condition report to damage or restoration are for guidance only. These references should be evaluated by personal inspection by the bidder or a knowledgeable representative. c. The absence of any reference to the condition of a Lot does not imply that the Lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Similarly, a reference to particular defects does not imply the absence of others. d. CDM and the sellers do not make any express or implied warranty or representation of any kind or nature with respect to the merchantability, quality or fitness for certain purposes, the accuracy of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any Lot sold. e. In making express statements in its catalogue descriptions or condition reports, CDM shall exercise such reasonable care as is consistent with: (1) its role as auctioneer; (2) the information provided by the sellers; (3) scholarship and technical knowledge; and (4) expert opinions as of the date these expert opinions are made.
Article V: Estimates a. Each Lot in the catalogue is given a low starting bid. This estimate represents the range which, in the opinion of CDM, represents a fair and probable auction value. This estimate does not include the Buyer’s Premium referred to in Section 10 hereunder. b. Pre-sale estimates are intended only as a guide for prospective buyers and are subject to revision. The actual prices realized for items can also fall below or above the range of these estimates. Thus, an estimate of the selling price should not be relied on as a statement that this is
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the price at which the item will sell or its value for any other purpose.
Bidders who act as agents shall be jointly and severally liable with their principals.
Article VI: Admission to the Auction a. CDM has the right at their absolute discretion to refuse to allow prospective buyers admission to or participation in an auction. b. Prior to bidding, all bidders are required to complete and sign registration forms and provide a government issued identification card (e.g., a passport or driver’s license). c. Bidders present at the live auction shall express their interest to participate in the auction by providing CDM with their full credit card details and shall execute an undertaking allowing CDM to charge a ten percent (10%) penalty on the final bid on the aforementioned credit card in the event that the bidder is unable to pay the full purchase price in accordance with the terms and conditions of Section 10.
c. Live Online Bids- CDM shall use reasonable efforts to carry out live online bids that are placed or delivered in accordance with the terms and conditions set forth in the agreement between CDM and the third party provider of the online bidding platform. If live online bids for identical bids are received for a particular Lot and these turn out to be the highest bids at the auction, the Lot will be sold to the person whose bid was received and accepted first. The execution of online bids is a free service that is undertaken subject to other commitments of CDM during the auction. CDM shall not be liable for failure to execute an online bid or for errors or omissions committed in connection with said bid.
d. Upon completion of the above admission process, CDM shall issue bidding paddles to the bidders.
Article VII: Sale and Withdrawal from Sale a. Unless otherwise announced by the auctioneer, all bids are per Lot as numbered in the catalogue. b. CDM reserves the right to withdraw from any sale any of the Lots listed at any time prior to the commencement of bidding for such Lot and shall have no liability whatsoever for such withdrawal. c. Unless otherwise indicated, a Lot shall be offered subject to a minimum price (the “Reserve”). The Reserve shall not exceed the low pre-sale estimate at the time of the auction. As a general rule, the Reserve is agreed upon by CDM and the sellers. CDM has the right to set the Reserve in the absence of an agreement with the seller.
Article VIII: Bidding a. Bidders shall be personally liable for their bids unless they have secured CDM’s prior written consent to act as agents for identified third parties acceptable to CDM.
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b. Absentee Bids - CDM shall use reasonable efforts to carry out written absentee bids delivered prior to the sale. If written bids for identical amounts are received for a particular Lot and these turn out to be the highest bids at the auction, the Lot will be sold to the person whose bid was received and accepted first. The execution of absentee bids is a free service that is undertaken subject to other commitments of CDM during the auction. CDM shall not be liable for failure to execute a written bid or for errors or omissions committed in connection with said bid.
d. Telephone Bids- CDM shall use reasonable efforts to contact prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the auction. CDM shall not be liable for its failure to contact said bidders or for any errors or omissions made in connection with telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of CDM during the sale.
Article IX: Conduct of Auction a. The auctioneer has the discretion to commence and advance the bidding at the levels and increments which he considers appropriate. The auctioneer also has the right to divide or to combine any Lots. As a general rule, CDM will follow ten percent (10%) increments, subject to the condition that said increment may change from time to time or at any time during the auction if the auctioneer sees the need.
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b. To implement the Reserve, the auctioneer may open bidding on any Lot by placing a bid on behalf of the seller. The auctioneer will not specifically identify bids placed on behalf of the seller. The auctioneer may further bid on behalf of the seller, up to the amount of the Reserve, by placing successive or consecutive bids for a Lot or by placing bids in response to other bidders. Unless otherwise indicated in the catalogue or by an announcement at the auction, CDM acts as agent on behalf of the seller and does not permit the seller to bid on his or her own property. c. The auctioneer may refuse to acknowledge any bidder and to reject bids. If any dispute arises between two or more bidders or in case of error, the auctioneer may decide the same or may re-offer and resell a Lot. The auctioneer has the right to determine the successful bidder and take such other actions as he deems fit under the circumstances. If any dispute arises after the sale, CDM sales record shall be conclusive. d. The auctioneers bidding increments: RANGE
INCREMENT
1,000 to 10,000
1,000
10,000 to 20,000
2,000
20,000 to 100,000
5,000
100,000 to 300,000
10,000
300,000 to 1,000,000
20,000
1,000,000 to 2,000,000
50,000
2,000,000 +
100,000
Article XI: Payment a. In addition to the hammer price of the Lot, CDM shall collect from the buyer a premium (the “Buyer’s Premium”). The Buyer’s Premium shall be fifteen percent (15%) of the hammer price. No Value-Added Tax (VAT) will be charged on the hammer price, but twelve percent (12%) VAT will be added to the Buyer’s Premium. The buyer shall shoulder the payment of the VAT on the Buyer’s Premium. CDM reserves the right to revise these rates and/or announce special premiums at any time. A portion CDM’s buyer’s premium will be donated to CDM’s foundation of choice. b. The buyer shall pay the full amount due (i.e., hammer price, buyer’s premium and any applicable fees, taxes and charges) in cleared funds not later than five (5) business days after the date of the auction (the “Full Purchase Price”). Unless prior written arrangements have been made, the Full Purchase Price shall be paid in Philippine Pesos (or converted to Philippine Pesos based on the conversion rate at the time of payment). The buyer shall be solely responsible for any currency conversion charges and wire transfer fees.
The bidding increments, however, are subject to change at the discretion of the Auctioneer.
c. Unless prior written arrangements have been made, payment shall be made in Philippine Pesos. CDM shall accept payments in cash, bank transfer, or checks. Checks should be made payable to Casa de Memoria. d. Payments by wire transfer should be directed to:
Article X: Purchase of Lots a. Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer. The striking of the auctioneer’s hammer shall mark the acceptance of the highest bid (the “Hammer Price”) and the conclusion of a contract of sale between the seller and the buyer.
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b. Upon the striking of the auctioneer’s hammer, the buyer shall become liable for the payment of the Full Purchase Price (as such term is defined under Article 11 below). The buyer shall likewise assume full risk and responsibility for the purchased Lot (including, without limitation, liability for or damage to frames and glass covering prints, paintings or other works) upon the striking of the auctioneer’s hammer.
Checking Account of Galeria Renascimento Commercial Enterprises Inc. doing business under the name and style of Casa de Memoria under CA# 27510003-43.
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Article XII: Transfer of Title and Release of Lots a. Title over a purchased Lot will not pass to the buyer until and unless CDM receives the Full Purchase Price in cleared funds. In the event that a buyer purchases several Lots, the title over these Lots shall not pass to the buyer until CDM the Full Purchase Prices for all Lots. b. The buyer shall arrange for the collection of the purchased Lots within three (3) business days from the date of the auction. CDM shall not be liable for any damage to the Lots that are left in its premises for more than three (3) business days following the sale. Fees and expenses for the collection and transportation of Lots sold at an auction shall be for the account of the buyer.
Article XIII: Packing and Handling of Lots a. The packing and handling of the purchased Lots shall be at the buyer’s risk. CDM shall in no way be liable for any acts or omissions of third party packers or shippers, regardless of whether these third party packers or shippers were recommended by CDM upon the buyer’s request. b. CDM may coordinate delivery of the purchased Lots to preferred location at the buyer’s expense and risk. The Lots will only be released after payment in full of all removal, storage, handling, insurance costs and any other expenses incurred, together with payment of all other amounts due to CDM. c. Buyers shall secure the necessary insurance policies for their purchased Lots and pay the applicable insurance premiums thereon. d. Buyers shall be solely responsible for obtaining any necessary export, import, national heritage, or other permits for their Lots, including but not limited to those issued by the National Museum. CDM and the sellers make no representations or warranties as to whether any Lot is subject to import/export restrictions or embargoes. Moreover, PDM and the sellers do not warrant that buyers will be able to secure the necessary permits for their Lots. The denial of any relevant permit or license shall not be a valid ground for the cancellation or rescission of the sale or any delay in payment.
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e. Any other taxes or fees that may arise in relation to the purchase of a Lot shall be for the sole account of the buyer.
Article XIV: Remedies Incase of Buyer’s Default a. Non-Payment or Non-Withdrawal of the Purchased lotsIf any lot has not been paid for in full and withdrawn under the deadlines and in accordance with the Terms and Conditions established in Article 11, Section b,CDM, in its capacity as the Seller’s representative, may, without prejudice to any other rights to which it is entitled, adopt one or more of the following courses of action: i. Initiate legal proceedings against the Buyer in order to be compensated for losses deriving from non-compliance with the contract, with interest, legal fees and costs to the fullest extent permitted under applicable laws;. ii. Charge late payment interest at the prevailing legal rate on the Total Amount Due until full receipt thereof. iii. Resell the lot in question or initiate proceedings for it to be resold, in an auction or via a privately negotiated sale, in which case the non-complying Buyer should pay CDM any outstanding amount in relation to the Total Amount Due (after deduction of any partial payment that has occurred and addition of any supplementary cost arising from the respective sale), wherein any remaining amount, if it exists, shall pertain to the non-complying Buyer. iv. Remove, store and insure the lot(s) at the noncomplying Buyer’s expense, wherein CDM shall decide whether or not the storage should occur in its own warehouses or in other warehouses chosen by it. v. Withhold the lot in question or another lot that has been sold to the non-complying Buyer in the auction in question or in another auction, and only release it after full payment of the Total Amount Due. vi. Reject or ignore any bid presented by the non-complying Buyer or by another
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person acting in his name in any subsequent auction or request and obtain a deposit by the non-complying Buyer before accepting or considering any bid presented in the future. vii. Take all and any steps that are deemed to be appropriate, at any time, in order to receive full payment of the Total Amount Due from the non-complying Buyer, and also achieve compensation for the existing debit from the sales price of any item owned by the noncomplying Buyer that at any time is held by CDM, on any basis. viii. to exercise a lien over any of the defaulting buyer’s property in the possession of CDM, provided that CDM may arrange for the sale of such property and apply the proceeds of the sale to the amounts owed to it within fourteen (14) days from its notice to the buyer regarding the exercise of its lien; ix. to release the name and address of the defaulting buyer to the seller to enable the latter to commence legal proceedings to recover the amounts due as well as legal costs, provided that CDM shall take reasonable efforts to inform the buyer prior to the release of this information; x. to effect any combination thereof.
Article XV: State and Authenticity of the Lots a. Considering that the items sold in an auction normally have significant age, all items are sold in the state in which they are found- with defects, imperfections and any descriptive errors or omissions. b. Any illustrations or representations in catalogues are solely intended for identification of the items put up for sale. c. Buyers accept and will be satisfied with the lots, in the state in which they were found prior to the auction, and will freely judge whether or not the lots correspond to the description that has been supplied. d. Neither CDM nor its representatives, workers or employees may be held responsible for any errors related to the description, genuineness or authenticity of any
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lot, given that no guarantee is provided by CDM or by its representatives, workers or employees in this regard.
Article XVI: Rights on Photographs and Publications a. The Seller grants to CDM the right to photograph and publish texts, photographs or illustrations of any kind, and in any form, in relation to any lot held by CDM for the purposes of sale, and also use these texts, photographs or illustrations of any kind, together with any others that are supplied by the Seller, at its own initiative, at any time, whether or not connected to organization of the auction.
Article XVII: Sale of Original Works of Art a. If the item sold in an auction is an Original Work of Art, it may be subject to either the Trade-Related Aspects of Intellectual Property Rights (TRIPS Agreement), the Berne Convention for the Protection of Literary and Artistic Works, and the WIPO Copyright Treaty.
Article XVIII: General Provisions a. All images, illustrations and written material produced by or for CDM for the auction are its exclusive property. CDM shall have the discretion to use these materials for its own purposes. b. CDM and the sellers do not warrant that the buyer will acquire any copyright or reproduction rights to any Lot sold. CDM expressly reserves the right to reproduce any image of the Lots sold in this catalogue. c. All measurements, weights and sizes stated in the catalogues of CDM are approximate. CDM is not responsible for damage to glass covering paintings, drawings, and other works or frames regardless of cause. d. CDM shall not be liable for errors that may occur in the operation of the video or digital screen and in the quality of the image. e. Employees of CDM may bid only if they do not know the Reserve. They must likewise fully comply with the internal rules of CDM on employee bidding. f. The relationship between prospective buyers, CDM and
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the sellers shall be governed by the following:
be instituted at the competent court in Makati City, to the exclusion of all other venues, the buyer hereby waiving all such other venues. This clause is for the benefit of CDM only and as a result, CDM shall not be prevented from instituting proceedings in any other courts having jurisdiction.
i. these Terms and Conditions; ii. any amendments to these Terms and Conditions that are made through posted notices or auctioneer’s announcements during the auction; iii. any additional notices and terms that may be incorporated into the catalogues or website of CDM or in showroom notices, or announced by the auctioneer during the course of the auction; and iv. any contracts, agreements or documents signed by the parties relevant to the auction sale. In case of conflict on the provisions of any of the foregoing sources of terms and conditions, the guidelines in a document of a later date shall prevail. g. No oral or written statements made by CDM in its advertisements, bills of sale, showroom notices or announcements or through the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability on the part of CDM. h. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law. i. These Terms and Conditions are not assignable by any buyer without the prior written consent of CDM. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives. j. No act, omission or delay by CDM shall be deemed a waiver of its rights and remedies under these Terms and Conditions.
Article XIX: Jurisdiction a. These Terms and Conditions and all related matters and transactions shall be governed by Philippine law. The parties agree that any legal action, suit or proceeding shall
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Documents All registration forms for absentee bidding, telephone bidding, online bidding, and bidding during the auction itself may be found at www.CasaDeMemoria.Com
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lot 020 page 22
Contributors Angelique Marie L. Miranda
Serious Studio
Director
Branding & Design
Tiffany Pauline D. Mathay
Gregg Alfonso G. Abbang
Operations Manager
Gregorio R. Caliguia III Research Specialists
Paola Angelica Z. Mathay Margie D. Heramia
Finance Manager
Ma. Jovita A. Del Rio Camille Marina Viola D. Lhuillier
Rosemarie B. Rodriguez
Marketing Manager
Casa Team
Ferdinand Salvador Consultant
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