Important Philippine Art | March 2018

IMPORTANT PHILIPPINE ART INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

SAT 1 0 MARCH 201 8 TH R E E SA LC E DO PL AC E

I M P O RTA N T P HIL IP P IN E A RT In c l u d i n g Imp orta nt P h ilip p ine Furniture, Tr i b a l & Eth nog ra p h ic Art

Unit 104-B, Ground Level Three Salcedo Place 121 Tordesillas Street Salcedo Village 1227 Makati City Philippines

AUCTION

Saturday, 10 MARCH 2018, 2PM

VENUE

Salcedo Auctions Unit 104-B, Ground Level Three Salcedo Place 121 Tordesillas Street

T: +632 823.0956 / 659.4094 F: +632 659.4094 M: +63917 894.6550 E: info@salcedoauctions.com W: www.salcedoauctions.com

Salcedo Village, Makati City 1227 Philippines

PREVIEW

Saturday, 24 FEBRUARY – Friday, 9 MARCH 2018 Tue - Sat 10AM - 6PM

BIDDING

Download telephone or absentee bid forms through https://salcedoauctions.com/buying-selling and send via fax +632 659.4094 or scan and email info@salcedoauctions.com

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Co-Presentor

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MESSAGE

Salcedo Auctions is pleased to present the fIfteenth edition of its bi-annual marquee sale, Important Philippine Art, with a focus on the place of connoisseurship and art historical context in establishing value. We do so mindful of our role and responsibility as the trusted venue for the sale and acquisition of fine art at auction - effectively serving as a barometer of the Philippine art market.

Over one hundred artworks made the cut in this sale, among these one of the largest works by National Artist Jose Joya still in private hands; the most extensive collection of significant works by National Artist BenCab to ever be sold at one auction; an unparalleled selection of monumental sculptures in wood by National Artist Arturo Luz; a very rare monochromatic painting by National Artist H.R. Ocampo; bucolic canvases in excellent condition by National Artist Fernando Amorsolo and, on the contemporary front, strong works by Ronald Ventura and a surprising early canvas and mixed media by Jose John Santos III. This sale also includes Important Philippine Furniture, and Philippine Tribal and Ethnographic Art, together with a tightly curated selection of very rare Filipiniana books and prints - a testament to the breadth, depth and richness of our heritage, and the growing reputation of these various collecting categories that have found a home at Salcedo.

We extend appreciation to the specialists and catalogue staff for their dedication and attention to detail, all of whose efforts contributed immensely to this sumptuous catalogue.

Our thanks go as well foremost to our co-presentor Santos | Knight Frank, the purveyor of prime real estate properties worldwide. We likewise acknowledge our prestige automobile partner Maserati, and our luxury beauty and fragrance partners Jo Malone and La Mer. We reiterate our commitment to excellence and uncompromising high standards - an ethos that we share with all of you.

RICHIE LERMA Director Salcedo Auctions

Lo t 1

Lot 2

ANITA MAGSAYSAY HO (1914-2012)

H.R. OCAMPO (1911–1978)

Water Carrier

Untitled

1998

1978

Serigraph A/P 53 x 39 cm (20 3/4 x 15 1/4 in)

Ink on paper 29 x 21.5 cm (11 1/2 x 8 1/2 in)

PHP 40,000 - 45,000

PHP 75,000 - 80,000

Lo t 3

Lot 4

FERNANDO ZÓBEL (1924–1984)

NENA SAGUIL (1924 - 1994)

Apunte del Puerto de Santa Maria

Untitled

1973

1977

Etching 9/10

Ink on paper

30.48 x 24.13 cm (12 x 9.5 in)

48.5 x 63.5 cm (19 x 25 in)

PHP 65,000 - 70,000

PHP 65,000 - 85,000 Accompanied by a Certificate of Authenticity issued by Benjamin Saguil, Jr.

2 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 5

RENATO ROCHA (1937–2001) Mother and Child Marble 29 x 7.3 x 6 cm (11 1/2 x 2 3/4 x 2 1/4 in)

PHP 38,000 - 43,000 Rocha abstracts the hugging figures of a woman and her child, as the two persons merge in one corpulent marble block. Rocha’s work does not only represent two related individuals, but also expresses the phenomenological sensation of this relation, as the marble curves into a tight embrace where two forms become one, with no distinction where one begins and the other ends.

Lo t 6

ARTURO LUZ (B. 1926) Homage to Isamu Noguchi Undated Metal tube in black finish 58/100 15 x 23 x 25 cm (6 x 9 1/4 x 10 in)

PHP 80,000 - 95,000 National Artist Arturo Luz creates structural balance in this tribute sculpture to Japanese architect Isamu Noguchi. Often inspired by architectural design plans, Luz’s work manifests equilibrium, where weight, direction, and dimension all flow in visual harmony. Part of the ‘Paper Clip’ series, it is a testament to the cerebral artistic process of the acclaimed artist.

Lo t 7

NAPOLEON ABUEVA (B. 1930) Untitled (Doves) 1977 Marble 16 x 36 x 24 cm (6 1/4 x 14 1/2 x 7 1/2 in)

PHP 80,000 - 90,000 Napoleon Abueva was named National Artist in 1976. This marble work displays the artist’s unparalleled ability to tell a story and evoke a mood through the simplest forms and the essence of the material used. Marble is molded into two tender doves resting in harmony—the top bird gently kissing the head of the bottom one.

In its power and purity, the work is a testament to Abueva’s genius.

Lot 8

RAMON ORLINA (B. 1944) Spirit of Hope 1999 Carved glass 24.5 x 30 x 17 cm (9 x 12 x 6 1/2 in)

PHP 380,000 - 450,000 Accompanied by a Certificate of Authenticity signed by the artist dated 5 April 1999

Ramon Orlina harnesses the prismatic possibilities of a single block of residual glass, its edges cut and polished to create this sinuous palimpsest of panes. Massive on top and tapering below, the sculpture remains balanced, as if floating on the wings of hope.

4 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 9

ALFONSO OSSORIO (1916–1990) Amordie 1983 Print 3/36 31 x 20 cm (12 1/4 x 8 in)

PHP 90,000 - 100,000 Celebrated for bridging the pioneers of American Abstract Expressionism and European Art Brut, Alfonso Ossorio captures significant features of the two groundbreaking art movements in this piece. Amordie leaves viewers with intriguing clues—symbols, letters forming almost indecipherable words, and amidst the disarray, a floating face with wide eyes and gritty teeth. In its enigma, the image’s vigor tempts audiences to connect the dots through its packed symbols, or simply marvel at its undeniable force.

Lo t 10

GUS ALBOR (B. 1948) Untitled 2014 Oil on canvas 122 x 92 cm (48 x 36 1/4 in)

PHP 260,000 - 300,000

This work by Gus Albor, one of the country’s leading senior abstractionists, emanates a movement and conscious precarious balance as colors and plastered texture are put into the foreground as performers in a technical spectacle of red. Subtle stamps of dry black paint bring complete stasis within the work - a testament to the artistic prowess of the artist. There is no subject, nor is there a central focus, but the painting brings forth an active collaboration of all its elements to create a purpose.

Lo t 11

MAURO MALANG SANTOS (1928–2017) Woman Vendor 1997 Oil on canvas 7.5 x 17.8 cm (5 x 7 1/2 in)

PHP 90,000 - 100,000 Accompanied by a Certificate of Authenticity issued by Mauro Malang Santos Executed in Malang’s distinctly geometric, pastel - palette style, a graceful woman sits calmly by a bouquet of flowers, wearing an instantly recognizable Filipina garment - the baro’t saya. Malang’s interest in this recurring subject is drawn from his childhood memories, when he would watch his mother performing her everyday work in this traditional clothing. In this light, the woman is not merely a faceless vendor on the street - she is a hardworking Filipina, seen with pure, admiring eyes.

Lo t 12

MAURO MALANG SANTOS (1928–2017) Woman Vendor Undated Pastel on paper 49 x 31.5 cm (19.3 x 12.3 in)

PHP 240,000 - 260,000 Butterfly sleeves and a blue veil decorate the small town vendor as she waits over a table, hovering over a few goods with arms stretched wide. Placed poetically opposite of her is a bountiful bouquet, branching out of in a spectrum of colors. Malang breaks down a small vignette of Filipino culture into a vibrant array of transparent swatches of color, constructing small but familiar icons, such as the bilao with kakanin, that draw a sense of nostalgia. There is an innate vibrancy to the rural life that many Filipino modernists tried to encapsulate.

West Gallery has graciously confirmed the authenticity of this artwork

6 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

L o t 13

MARK JUSTINIANI (B. 1966) Abot Tanaw 1995 Oil on wood 57 x 38.5 cm (22 1/2 x 15 1/4 in)

PHP 280,000 - 350,000 Abot - tanaw refers to the horizon. In this oil on wood, Mark Justiniani uses his signature cartoon - like style to create an anthropomorphic representation of the phenomenon - a woman floating through the vast cosmos, collecting multiple golden suns into a green pouch. At the same time, the artist creates a play on words: abot means to reach or grab, and tanaw refers to a view or outlook.

L o t 14

JOSE JOHN SANTOS (B. 1970) Riseta ni Doc 2011 Mixed on media 30.5 x 23 cm (12 x 9 in)

PHP 280,000 - 350,000 Acclaimed for his cryptic symbolism stimulating a reexamination of histories, Jose John Santos III presents a clenched fist, a fragment of a letter stamp, and the iconic signature of National Hero Jose Rizal like pieces of a puzzle. Riseta ni Doc refers to Rizal’s profession as an ophthalmologist. The worn and faded quality of what appears to be a letter envelope invites audiences to look back at the traces left by this historical figure. Veering from revealing the face of the National Hero, Santos challenges viewers to understand him with fresh eyes distanced from the anecdotal, fabled character he is often portrayed as.

L o t 15

ANG KIUKOK (1931–2005) Rooster 1975 Tempera on paper 45.72 x 30.48 cm (18 x 12 in)

PHP 260,000 - 280,000 Accompanied by a Certificate of Authenticity issued by Finale Art File National Artist Ang Kiukok is widely known for his rooster images rendered in sharp, expressionist forms.

Vibrant, contrasting colors; fierce strokes, lines, and shapes; and a distorted, multi-dimensional perspective all come together in this work. Here the rooster stands tall and firm against a bright red background, as if commanding a newfound power.

Lo t 16

ANG KIUKOK (1931–2005) Untitled (Still Life with Plant) 1975 Tempera on paper 45 x 29 cm (17 3/4 x 11 1/2 in)

PHP 380,000 - 400,000 Accompanied by a Certificate of Authenticity issued by Finale Art File Among National Artist Ang Kiukok’s most recognizable leimotifs, this still life of a potted plant is broken down into cubist shapes. When put together, they form an almost iconographic representation of reality, capturing an essence that is independent from its original form.

8 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 17

ARTURO LUZ (B. 1926) Homage to Aalto 2013 Ipil wood 53 x 53 x 53 cm (20 3/4 x 20 3/4 x 20 3/4 in )

PHP 400,000 - 550,000 Paying homage to the acclaimed Finnish architect Alvar Aalto, National Artist Arturo Luz parallels Aalto’s oeuvre in merging organic, vernacular material and the refinement of simplified modern forms with a spirited expression.

Aalto was known to deviate from the fixed rigidity of modernism, trusting instinct and spontaneity in the process of planning his designs. Similarly, Luz employs a sense of lightness and freedom as he experiments with varying geometric shapes, unique patterned surfaces of wood, and sharp corners and shadows evoking that of a maze - all of which come together to produce a playful sculptural puzzle. No two sides of the cube are exactly the same, leaving one to discover a new structure and texture on each angled surface. In this light, the sculpture is not merely a plain cube - it is a testament to the National Artist’s unique approach to form and design, marked by an unmatched elegance and sophistication.

Lo t 18

ARTURO LUZ (B. 1926) Untitled Undated Wood 137.25 x 45.5 x 46 cm (54 x 17 3/4 x 18 in)

PHP 700,000 - 850,000 Evoking the interplay between modernism and folk motifs pioneered by the Romanian sculptor Contantin Brancusi, Arturo Luz employs a similar fusion in this totem sculpture. Blending sensuous curves and sturdy lines with the warmth of wood, the piece recalls Luz’s explorations of the anito - ancestor deities in Philippine folklore.

Standing elegantly, it appears as a mediator to a transcendent state of being.

10 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

L o t 19

MAURO MALANG SANTOS (1928–2017) Woman 1991 Gouache on paper 51 x 51 cm (20 x 20 in)

PHP 300,000 - 330,000 Malang’s signature woman stands at center. Even as her form is broken down into transparent masses of color, there is a delicateness to her being, and even a softness to her expression.

She holds two bouquets of flowers, a cacophony of colors and swirls held tenderly close to her bosom.

West Gallery has graciously confirmed the authenticty of this artwork

Lot 20

JUVENAL SANSÓ (B. 1929) Untitled (Flowers)

A bouquet of blue flowers stands against a red background, spilling out of its vase, its azure tint drawing the eye to wander over the layered textures created by the artist’s skilled brushwork.

After graduating from the University of the Philippines, Juvenal Sansó

Undated

moved to further his art studies in Europe, first moving to Spain then later

Mixed media

finding himself in Paris where he was further exposed to modernism.

52.5 x 67.5 cm (20 2/3 x 26 1/2 in)

Wandering through the lush valleys and sandy shores of the French coast,

PHP 320,000 - 350,000

Sanso set aside his dark and somber expressionist style to create a more colorful series of works.

Lo t 21

NENA SAGUIL (1914-1994) Untitled

Furthering her investigation of the mystic in art after relocating to Paris in the 1960’s, postwar modernist vanguard Nena Saguil moves away from the uncompromising flow of matter to a more spontaneous rendering of painted dots in intricate

1966

patterns and raised, spherical forms across a blurry plain of

Oil on canvas

desaturated blue. The organic aura of her paintings is also

61 x 75 cm (24 x 30 in)

abandoned, replaced by the more structured application of

PHP 220,000 - 260,000

sharp grey panels above the canvas.

Accompanied by a Certificate of Authenticity issued by Benjamin Saguil, Jr.

12 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

RONALD VENTURA Camo

Lot 22

RONALD VENTURA (B.1973) Camo 2016 Oil on canvas and fiberglass resin, charcoal, polyurethane paint 60.96 x 45.72 cm (24 x 18 in) 101.6 x 86.36 cm (40 x 34 in) inclusive of sculptural frame

PHP 380,000 - 450,000 Crowned with a canine’s head, a bare-chested man tattooed with enigmatic symbols is engulfed in a camouflage pattern. These clues leave viewers with enough to draw a haunting narrative - the pattern evokes that of a soldier, the inked body suggests strength and grit, and the animal head reveals a human reduced to a beast. A crowd of skulls in varied shapes and sizes frames the canvas - some bones float above the rest, others sink. Known for using skin and beasts as metaphors to confront contemporary issues, Ronald Ventura explores layered identities with complex disguises in this work. Camo is a multifaceted piece wherein Ventura implores viewers to ponder on prevailing concerns on warfare, humanity, and the price of fighting for a nation. In the midst of war, who are the beasts hiding in disguise? Who gets stripped of humanity? And who are the voices left unheard? The work is a testimony to Ventura’s acclaimed ability in utilizing hyperrealism to challenge glaring realities—a quality that has garnered him both critical and commercial acclaim and cemented him as a leading contemporary Southeast Asian artist. In this piece, polished figures and intricate details are not used to beautify—instead, they are emphasized to provoke, question, and illuminate.

Lo t 23

JOSE JOYA (1931– 1995) Brick Fort

Appearing like a cluster of disassembled bricks and stones, this abstract collage explores depth, weight, and a masterful use of color. Its monochromatic tones in brown are contrasted amidst a bright orange background, evoking

1983

both an earthiness and playfulness at once. Layered with

Acrylic collage

opaque and translucent material alike, the work maintains

38.1 x 58.42 cm (15 x 23 in)

an elegant balance in spite of its contrasts - telling of

PHP 650,000 - 680,000

Accompanied by a Certificate of Authenticity issued by Josefa Joya-Baldovino, dated 19 March 2014

National Artist Jose Joya’s unparalleled craft in abstraction.

Lo t 24

BENCAB (B. 1942) Dance Forms Monoprint 184 x 94 cm (72 1/2 x 37 in)

PHP 450,000 - 500,000 The dancer exudes an impassioned expression as she dips her back in poise.

The richness of her gesture is articulated on the impeccable folds of her dress, which lavishly wraps her body into a floating, shapeless form.

Swift, fine lines in white move throughout her clothing, as if imitating the woman’s graceful movement. Gradations in brown, maroon, and orange permeate both the background and the woman - as if the dancer is on a fiery trance. National Artist BenCab masterfully employs warm, vibrant colors; bold, intricate lines; and sophisticated movement to capture a fleeting moment of energy and elegance.

Lot 25

ROMEO TABUENA (1921–2015) Untitled (Carabao) 1958 Oil on plywood 45 x 60 cm (17 3/4 x 23 3/4 in)

PHP 450,000 - 500,000 Painted only three years after the artist moved permanently to San Miguel de Allende, Mexico, this oil on wood work by Romeo Tabuena reflects a diverse merging of influences: a lyrical brushwork inspired by traditional Chinese paintings, a carabao scene reminiscent of the rural areas in the Philippines, and an expressionist style through the simplified yet defined figures. The characters emerge amidst a translucent, abstract background with overlapping hues of brown and orange, as if they are passing through an undefined path. The piece is a testament to Tabuena’s imitable quality of fusing elements from the varied places and cultures, giving birth to his distinct style and cementing his role as one of the forerunners of modernism in the Philippines.

L o t 26

FERNANDO ZÓBEL (1924–1984) Untitled c. 1970’s Mixed media 40 x 34.5 cm (15 3/4 x 13 1/2 in)

PHP 750,000 - 800,000 A vanguard of nonobjective art in the Philippines, Fernando Zóbel reflects on the power of motion, time, and space in in this mixed media piece. Calculation and spontaneity are balanced through sharp, refined black lines met with loose smears and splotches. Space is skillfully employed to set a contemplative mood - bringing sole focus to the soaring figure that emerges, reminiscent of a fleeting creature amidst a vast, bare sky.

Lo t 27

BENCAB (B.1942) Sabel

A face is not present in this Sabel, the iconic muse that elevated National Artist BenCab to widespread critical acclaim. Only traces of the scavenger is found at the bottom right corner of a hollow space, swamped beneath the soft, multiple folds of a translucent white cloth. Only a whiff of her

1974

hair suggests the presence of a human in this image: it is rendered

Mixed media

almost shapeless in motion, as if the woman had just turned her back to

48 x 37 cm (19 x 14 1/2 in)

the spectator. This particular scene opens up deeper layers to BenCab’s

PHP 2,800,000 - 3,500,000

captivating muse - who was this person to the artist at this moment in time?

Why does she seem to be detached, hiding, and fleeting?

18 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

ROMULO OLAZO Diaphanous

Lo t 28

ROMULO OLAZO (1934–2015) Diaphanous 1975 Oil on canvas 81.3 x 61 cm (32 x 24 in)

PHP 900,000 - 1,200,000 Accompanied by a Certificate of Authenticity issued by Paseo Art Gallery Through fine layers of overlapping screens on a deep green, known as the most calming of colors, distinguished abstract artist Romulo Olazo creates a soothing visual symphony. In its interplay of colors and fields, the piece exudes a meditative atmosphere likened to the works of Mark Rothko. Nevertheless, this rare, early piece is distinctly Olazo - famed for constantly experimenting with and revitalizing irregular shapes, degrees of colors, diverse materials, and an overwhelming sense of space in his abstract pieces.

Each work reveals how Olazo finds infinite potentials in the continuous, evolving process of abstraction, thus producing works that are similar yet inherently unique - this work being a testament to endless possibilities of form and material.

H.R. OCAMPO Semana Santa

Lo t 2 9

H.R. OCAMPO (1911–1978) Semana Santa 1978 Oil on canvas 75 x 100 cm (39.4 x 29.5 in)

PHP 3,500,000 - 4,500,000 Accompanied by a Certificate of Authenticity issued by the National Museum and signed by Jose Joya, Chairman of the Authentication Committee

Monochromatic forms oscillate spontaneously in this masterpiece by National Artist Hernando R. Ocampo, swirling both above and alongside each other in a fluid dance of organic bodies. There is a synergetic flow to their interaction, none striking the other’s path but instead harmoniously influencing the balance shared by one another as if cogs of a plasmic mechanism. As Semana Santa devotees march behind Christ’s corpus, they become a living breathing wave of spiritual potency.

Prayers are shared by thousands of tongues as fervent faith feeds off one another, amplifying the potency of their shared tradition. This is not so much a celebration, but a time for reflection. The energy that looms above the crowd is solemn with thoughts of the Crucifixion - a phalanx of penitents moving forward, a grey essence flowing in an unfixed yet singular path.

22 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 30

ROMULO GALICANO (B. 1945) Untitled 1975 Oil on canvas 30.5 x 41 cm (12 x 16 in)

PHP 300,000 - 330,000 Arguably one of the finest early works by the Cebuano master when his works possessed a strong impressionist influence, this view of central Manila from across one of its many public parks shows the city hall clock tower and an electric pole looming over the idyllic setting - a juxtaposition of the encroachment of the built environment on nature.

L o t 31

DIOSDADO LORENZO (1906–1984) Untitled (Nipa Hut) 1959 Oil on wood 59 x 80 cm (23 x 31.5 in)

PHP 500,000 - 550,000

Diosdado Lorenzo is considered as one of the leading prewar modernists - a post - impressionist vanguard along the lines of Cezanne, whose works showed the primacy of the formal elements such as line, mass, and color, over any attempt to mirror reality. This fine painting shows the artist's signature motif - a nipa hut in the Philippine countryside.

Lo t 3 2

ISIDRO ANCHETA (1882-1946) Planting Rice 1929 Oil on canvas board 30.48 x 40.64 cm (12 x 16 in )

PHP 90,000 - 95,000 Isidro Ancheta captures Philippine rural life, recreating through luscious oil strokes the vitality of the summer harvest season. Life is apparent in the work: in the bucolic presence of the different flora that surround the rice fields; in the light that reflects the sky on the watered rice fields; and in the hard working far folk going about their duties.

Lo t 3 3

JUAN LUNA Y NOVICIO Landscape with Building Undated Graphite on paper 20.5 x 31.5 cm (8 x 12 in)

PHP 160,000 - 180,000 A true master of his craft, Juan Luna demonstrates his virtuosity in this sketch of a town plaza. While his grandiose oil paintings and their subsequent success granted him a permanent position as one of the most celebrated artists in Philippine history, there is succinct merit in the refined lines of this drawing.

Accompanied by a Certificate of Authenticity issued by the National Museum and signed by Ricarte M. Purugunan, Chairman of the Authentication Committee

24 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

CARLOS ‘BOTONG’ FRANCISCO

Lo t 34

Delicate and playful, National Artist Carlos “Botong”

CARLOS ‘BOTONG’ FRANCISCO (1912–1969)

Francisco’s depiction of the most celebrated traditional

Tinikling Undated Mixed media 27 x 19 cm (11 x 8 in)

PHP 180,000 - 200,000

Philippine dance is a testament to his ability in capturing the radiant spirit of Filipino culture and folk values. In this work, Francisco depicts not only a couple performing a routine, but also a narrative through the characters’ expressions: the woman carefree, pleasantly enjoying her time, and the man sneaking a glance to watch her as he performs. It is striking in its purity, familiarity, and bliss.

Accompanied by a Certificate of Authenticity issued by Salvador Juban

Carlos “Botong” Francisco utilized various medua to reinterpret Filipino native culture and beauty. In this relief carving on hard wood, the artist retells the legend of the creation of man and woman, emgraving into the wooden panel two gendered bodies emerging from bamboo stalks into a world created by Bathala. Soft curves breathe life into the picture, as the waters and sky move with a vitality that will sustain the newly born creatures, and from whom the Filipino race descends.

Lo t 35

CARLOS ‘BOTONG’ FRANCISCO (1912–1969) Untitled Wood 62 x 161 x 5 cm (24 1/2 x 63 1/2 x 2 in)

PHP 1,000,000 - 1,200,000

26 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

FERNANDO AMORSOLO Untitled (Sunday Morning Going to Town)

L o t 36

FERNANDO AMORSOLO (1892-1972) Untitled (Sunday Morning Going to Town) 1942 Oil on canvas 50 x 66 cm (19 3/4 x 26 in)

PHP 3,800,000 - 4,000,000 Sylvia Amorsolo - Lazo has graciously confirmed the authenticity of this artwork

One of his most iconic motifs, Amorsolo paints a romanticized scene of Filipino rural life. A family sets out together, leaving their hut for a place beyond the viewer’s eye. Light cascades on them from the rising morning sun, and they are left to cover themselves with either the natural shade or, in the case of the woman in the center, a pink parasol.

Even the cocks take shade from the beating sun, finding refuge behind a pile of hay in the corner. The journey ahead is not without its strains, the men carry makeshift sacks on their backs, enlisting the help of a carabao to carry the season’s yield. The artist does not shy away from the humble reality of the peripheries. The morning sun brings illumination - shining upon the verdant path ahead, the parasol’s striking hue breaks the cacophony of greens and yellows. It is as if Amorsolo had captured the joyously resolute spirit of the scene and its people. As Alfredo Roces had succinctly placed it, “While it was the portrayal of his subjects in nostalgic poses, suffused with sentiment that accounted for his popular appeal, Amorsolo’s genius was a master of light and color. A highly skilled draftsman, Amorsolo invariably chose backlit subjects, probing with color into the deepest shadows and topping off his compositions with chrome yellow lights to accent contours where the backlight struck.

28 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 37

One of Amorsolo’s best - known subjects, two young

FERNANDO AMORSOLO (1892-1972)

women bathe in a flowing river conversing as one

Untitled

bucolic lushness in this setting, even the smallest of the

1961 Oil on canvas 85.5 x 60 cm (33 1/2 x 23 3/4 in)

PHP 4,800,000 - 5,000,000

dries herself and the other washes clothes. There is a cascading bamboo leaves are rendered in their most perfect form. The women’s bodies glow with a smooth glaze, sunlight smoothly spread across their young skin, vitality and beauty at their peak, and their expressions show joy and contentment in the simple life they share.

Sylvia Amorsolo - Lazo has graciously confirmed the authenticity of this artwork

Lo t 3 8

FERNANDO AMORSOLO (1892-1972) Fishermen at Sunset 1955 Oil on canvas 85.5 x 55 cm (34 x 22 in)

PHP 4,500,000 - 5,000,000 Accompanied by a Certificate of Authenticity issued by the National Museum and signed by Jose Joya, Chairman of the Authentication Committee The orange of dusk paints the sky, clouds colored in soft pastel hues. They serve as the backdrop to the fishermen preparing to set sail in the receding tide for what may be their last trip of the day. Beyond the reclaimed shores, a dark storm gathers, ominously breaking the sunlight and obscuring the seafarers’ way. Nonetheless the men push their boat off the sandbank. National Artist Fernando Amorsolo did more than just create picturesque scenes of Filipino life through his masterful strokes of the brush; he presented a people and their values - each perfect form imbued with dignity. We see here then the fishermen as embodiments of determination - indomitable spirits charging forward in spite of the storms of circumstance.

30 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 39

VICTORIO EDADES (1895-1995) Davao Fruits 1980 Oil on canvas 50 x 61 cm (19 3/4 x 24 in)

PHP 480,000 - 600,000 Exhibition: Images of Nation: Victorio Edades Ayala Museum, 6 Mar - 29 Jul 2012

Veering from the overtly crude and distorted forms that defined his early works, National Artist Victorio Edades, Father of Modern Philippine Art, applies rich color and texture to a pineapple, rambutan, and the famed durian of Davao, where the artist spent his final years. There is finesse to the brushwork - tiny strokes convey the rough and thorny surfaces of the fruits, while broad, layered strokes create a lavish background in ochre.

In spite of its refinement, there are prevailing modern traces in the work: a flat perspective and a heightened, exaggerated contrast in colors. These noteworthy qualities hold parallels to two forerunners of modern art in Europe: Manet and Cezanne. Employed on local fruit, they become distinctly Edades - telling of how the artist paved the way in transposing modernism to the Philippine context.

Lo t 4 0

VICENTE MANANSALA (1910–1981) Guadalupe

An early painting by National Artist Vicente Manansala in excellent condition, its rarity beyond its period and pre-cubist style lies in its very medium. Where most landscapes by the master are rendered in watercolor, this is a very rare oil on canvas depicting the misty, verdant environs of

1955

Guadalupe. Today, the painting comes across with wistful nostalgia, a

Oil on canvas

picture of nature now replaced by the built environment.

56 x 41 cm (22 x 16 in)

PHP 2,500,000 - 2,800,000

Provenance: Acquired by the present owner from Ma. Cristina ‘Kit’ Ongpin-Roxas, Tawalisi Antiques, Makati City

JOSE JOYA Coast of Cavite

Lo t 4 1

JOSE JOYA (1931–1995) Coast of Cavite 1992 Acrylic on canvas 120.5 x 90 cm (47.5 x 35.5 in)

PHP 3,500,000 - 4,500,000 In this highly dynamic piece, National Artist Jose Joya merges flat color fields and loose, spontaneous gestural strokes - evoking two of the most prominent facets of American Abstract Expressionism. The subject and colors, however, are distinctly Filipino - the earthy brown, shades of blue-grey, and hints of rust are tones that dominate coastlines both in rural Cavite and the rest of the archipelago. Capturing both the rugged yet palliative mood of the seaside, bronze tones, refined gradients, and vigorous splashes layer atop and mix together to form one lyrical spectacle climaxing at the center. This seamless marriage of the modern international movement and local landscapes makes this piece a quintessential Joya - epitomizing the remarkable oeuvres of the prime pioneer of Philippine abstraction.

BENCAB Untitled (Seated Woman)

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BENCAB (B.1942) Untitled (Seated Woman) 1989 Oil on canvas 58.5 x 43.2 cm (23 x 17 in)

PHP 3,800,000 - 4,500,000 History and modernity are juxtaposed, creating an alternative space within the canvas wherein both redefine one other in an anachronistic merging. National Artist BenCab appropriates early 20th century photography, recreating his subjects of yore with soft sepia strokes flanked by a neoplastic background. Through this, the past is brought back into the realm of the present, deconstructed and then repackaged into terms more contemporary to the viewer.

BENCAB Mother and Child

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BENCAB (B. 1942) Mother and Child 2009 Acrylic on handmade paper 77 x 58 cm (30 1/4 x 22 3/4 in)

PHP 1,200,000 - 1,800,000

A mother holds her child in her arm as she stares lovingly into his form. There seems to be no other world in her eyes except for the one she shares with her young kin, as her currant-colored aura paints a space where only she and her loved one reside. It is a scene from a dream, the child weighing no burden upon her arm, only then leaving the ideal intimacy and love shared between family members. The mother holds him close, softened brow showing a knowing look the gaze of one who at that moment knows all and accepts all of the other’s being. National Artist BenCab recreates the special relationship shared by a mother and her child in the period before he completely detaches from the bosom, a warm blanket of red, and ventures into an undefined world beyond.

ALFONSO OSSORIO Untitled

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ALFONSO OSSORIO (1916–1990) Untitled 1970 Mixed media 85 x 57 cm (33 1/2 x 22 1/2 in)

PHP 3,500,000 - 3,800,000

One of the country’s foremost expatriate artists, Alfonso Ossorio made a name for himself, albeit belatedly transitioning from dilettante, with recognition of his significant contribution to abstract expressionism and the New York School coming in droves over the past decade with retrospective exhibitions and showings in the world’s leading museums. The latent power of his oeuvre enervates in this monochrome wax-resist from the 1970s.

Lot 45

LEE AGUINALDO (1933–2007) Untitled (Abstract) 1963 Oil on canvas 18 x 26.5 cm (7 x 10 1/2 in)

PHP 140,000 - 160,000 Layers of rust, ochre, red, blues and greys are painted atop each other, fusing into a mist of deeply rich colors - in each spot on the canvas, a unique tone emerges. The surface is irregularly textured - paint is rendered thin and flat as it meets the corners and grows thicker with impasto towards the center. One of the leading abstractionists in the country, Aguinaldo explores the movement’s limitless possibilities in this piece, unveiling rich discoveries in color, texture, mood, and energy in the process.

Lot 46

H.R. OCAMPO (1911–1978) Untitled 1970 Oil on wood 27.5 x 21 cm (10 3/4 x 8 1/4 in)

PHP 160,000 - 180,000 Created only one year after executing his iconic Genesis tapestry at the Cultural Center of the Philippines Main Theater, this oil-onwood work is a testament to National Artist and leading modernist H.R. Ocampo evolving into his most exuberant creative period - “visual melody”. Though the work exhibits the artist’s distinct quality of forming abstracted organic forms in luminous color and texture, the fields found in this piece contain darker, richer, and deeper tones layered and mixed together in thick impasto. With a harmony of somber notes in brown and dark ochre, the work sings a melancholic melody accentuated by hints of vibrant tones in yellow and orange.

The familiar scene of raindrops kissing the earth is made anew in this collage. From paint splotches to overlapping mesh and paper, National Artist Jose Joya experiments with bold, loose lines; shapeless fields; and a monochrome palette in grey to depict a melancholic scene of a rainy day. The moon is found almost touching the hill, putting one in the perspective that is far and distant from the summit. In his refined abstraction, Joya captures the mood of a moment.

Lot 47

JOSE JOYA (1931–1995) Drizzle on the Hill Lo t 4 8

1992

CESAR LEGASPI (1917-1994)

Acrylic collage

Untitled (Nude)

25.5 x 33 cm (10 x 13 in)

1984

PHP 180,000 - 200,000

Pastel 59.69 x 74.93 cm (23 1/2 x 29 1/2 in)

PHP 80,000 - 85,000 With her head turned to face the viewer, back unnaturally arched, and breasts and arms exaggerated, the laying nude figure painted by National Artist Cesar Legaspi exudes an empowered presence. These subtle distortions show traces of Legaspi’s sharp, cubist tendencies, yet they are balanced out by supple and smooth gradations executed in a pastel medium — giving the woman a graceful air.

42 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 49

ALFREDO ESQUILLO, JR. (B. 1972) Kite-Flying on a Dark, Stormy Day 2015 Oil on ethylene-vinyl acetate panel 122.25 x 61 cm (48 x 24 in)

PHP 550,000 - 580,000

A woman soars through the sky, her kite breaking through the storm clouds with an unapologetic set of bright contrasting colors. Above her, batwinged megaphones direct their attention towards the heroine. But the woman remains undaunted by their presence, her arms are raised in savior-like fashion, as her eyes stare directly into the audience beyond the canvas, communicating an aura of bravery as she traverses and overcomes danger.

Lo t 50

RONALD VENTURA (B.1973) Photographer’s Vision 2004 Oil on canvas 91.5 x 61 cm (36 x 24 in)

PHP 900,000 - 1,200,000

Accompanied by a Certificate of Authenticity issued by West Gallery and signed by the artist There is a strong paradoxical quality between the stark, realistic depiction of human subject and the ambiguity of context in this masterwork by Ronald Ventura. The subject is laid bare - his body language shows an unabashed composure, yet his identity is withheld as his face is cut off by the canvas. He holds a camera on his lap, hands holding the tool with an easy familiarity. However, there is a curtain behind his back, and a suggested studio light illuminates his figure, and with that a reversal of roles - the creator is now being created. This introspective look into the artistic practice of photography brings to the fore the agency of the artist in recreating an image, acknowledging the impossibility to separate individual vision from context.

44 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 51

JOSE JOHN SANTOS III (B. 1970) Untitled

This very rare early work from the time of the artist’s membership in the activist Salingpusa group and his work as an art instructor at St. Paul’s College, Manila, is similar in theme to another 1994 work in the Pinto Museum collection,

1994

Naked Woman and a Clothed Bull. The painting shows a

Mixed media

house turned inside out, where a woman peers out to watch

54.61 x 73.66 cm (21.5 x 29 in)

two bulls in silhouette at loggerheads. Behind the creatures

PHP 1,200,000 - 1,600,000

is an arch beyond which skyscrapers can be seen in the distance. The use of the woman figure and the bull motif is an allusion to the mythical Minotaur—part man, part bull.

With its classicist overtures, here manifested by the old man who appears like Greek statuary, the bull is also seen as a surrealist emblem, the personification of forbidden desires and complex emotions.

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Known for merging enigmatic motifs from Philippine folklore and pre-colonial

RODEL TAPAYA (B.1980)

history into a contemporary context, Rodel Tapaya unveils a large tree trunk

Manama 2012 Acrylic on canvas 100 x 74 cm (39 x 30 in)

PHP 700,000 - 750,000

crowned with swaying leaves and volcanic blue forms. What appears to be the skin of a beehive drapes over the tree like a piece of clothing. Two eyes emerge on the tree trunk, revealing a haunting mythical creature of nature the kapre, or tree giant, in Philippine folklore. Gazing directly at the viewer, the creature tempts one to ponder on passed down beliefs, histories, and identities, and their significance to the contemporary Filipino.

46 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 53

SOLOMON SAPRID (1917-2003) Tikbalang 1981 Brass 62 x 85 x 65 cm (24 1/2 x 33 1/2 x 25 1/2 in)

PHP 800,000 - 950,000

Known for championing lost folk beliefs that tie Filipinos as a people, Solomon Saprid applies his distinctively raw, Brutalist style of welding scrap material to the shape of a tikbalang. The brass figure pays homage to that iconic Philippine mythical creature of a half-horse, half-human - claimed by many to be smoking tobaccos while dwelling cunningly amongst the depths of the forests. Having been passed on from generation to generation in the form of oral histories, tales such as these have persisted amidst colonial efforts in erasing pre - colonial Philippine tradition.

Vigorous and determined to live on, Tikbalang is a witness to Saprid making his mark in constantly revitalizing and bearing these creatures in contemporary Filipino culture.

Lo t 54

Untitled (Dancers) Dancers Oil on canvas

A tribute to romance, National Artist BenCab depicts a couple dancing, eyes closed in deep rapture, the moment of passionate excitement pictured in their tight embrace. Their solid forms dominating the pictorial space imbue this scene a palpable poignancy and the impact of affective immediacy.

58.5 x 43.2 cm (23 x 17 in)

PHP 3,800,000 - 4,500,000

48 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

CARLOS ‘BOTONG’ FRANCISCO Untitled (Pageant of Philippine History)

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CARLOS “BOTONG’ FRANCISCO Untitled (Pageant of Philippine History) Wood 91 x 190 cm (36 x 75 in)

PHP 4,500,000 - 5,000,000 Accompanied by a Certificate of Authenticity issued by Salvador Juban

This relief sculpture by National Artist Carlos ‘Botong’ Francisco is impressive for its well-wrought forms, their languid lines emphasizing the flow of time, the forms arrayed in grand pageantry retelling the nation’s story, the act of eking out positive and negative space in hardwood a metaphor for deeply etched visions in the collective memory. This work is a masterpiece of design and an evocative manifestation of the master of Angono’s singular voice, and fluency across different media.

50 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

ANG KIUKOK Mother and Child

Lo t 56

ANG KIUKOK (1931–2005) Mother and Child 2000 Oil on canvas 60.96 x 60.96 cm (24 x 24 in)

PHP 5,500,000 - 6,500,000 Accompanied by a Certificate of Authenticity issued by Finale Art File, signed by Andrew Ang and Evita T. Sarenas

Even as National Artist Ang Kiukok is well known for his expressionist canvasses riven with disquieting subject matter - starkly composed, angular still lifes, a ferocious bestiary of dogs and cats - and for his auspicious harvests filled with farm folk wielding golden grains or fishermen dragging a net brimming with the day’s catch, his Mother and Child series of paintings is arguably his most universally loved. This iteration pained at the turn of the millennium shows the artist’s iconic cubiform figure embracing her child; but instead of tightly wound bodies, one cannot help but notice the vividly colored infant in the pink of health, joyously frolicking with his mother, in a rare show of emotive connection.

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MAURO MALANG SANTOS Tres Marias

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MAURO MALANG SANTOS (B. 1928) Tres Marias 1992 Oil on canvas 109.2 cm x 109.2 cm (43 x 43 in)

Estimate upon request West Gallery has graciously confirmed the authenticity of this artwork

Mauro Malang Santos’ take on the popular Tres Marias leitmotif recreates the solemnity of a Biblical scene with vivid colors. Three women stand in astonishment, the first witnesses to Christ’s Resurrection. The baskets of colorful flowers on the foreground and the dawn breaking in the background modulate the drama of this visual narrative, imbuing it with a spiritual significance. With light permeating this scene, the unfiltered hues do not overpower, but instead foreground humanity. If there is one adage that perhaps best sums up the works of Malang it is that through his work, hope springs eternal.

54 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

FERNANDO ZÓBEL El Recreo II

Lot 58

FERNANDO ZÓBEL (1924–1984) El Recreo II 1981 Oil on canvas 80 x 80 cm (31 1/2 x 31 1/2 in)

PHP 4,800,000 - 6,000,000

This major work from Fernando Zóbel’s Serie Blanca series - the title translates as ‘Entertainment’ - with its graffito forms painted vertically and horizontally across the canvas appears to viewers as an amalgam of simple joys - a circus high wire, playground equipment, the hashed lines set against an airy backdrop interpreted as syncopated visualizations of carefree reverie.

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JOSE JOYA Tagaytay Mist

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JOSE JOYA (1931– 1995) Tagaygay Mist 1990 Oil on canvas 152.5 x 274.5 cm (60 x 108 in)

Estimate upon request

One of the largest paintings of National Artist Jose Joya, the master of the Philippine abstract expressionist movement, still in private hands, Tagaytay Mist holds within its frame the consummate skill of an artist at his apogee. Primary and pastel colors float above each other, clustered in the center and spreading out into the edges. There is purpose to the arrangement of the wafting forms, as incongruent lines move the viewer’s eyes in a small dance around the canvas. Joya shows a control and restraint that is not usually associated with the genre, and in doing so reclaims and expands its boundaries to meet his unique vision. There is something essentially Orientalist about Joya’s work, exuding the local through his calligraphic aesthetic. Differing from the Western postwar expressionist stalwarts such as Pollock and Rothko, Joya draws out a quintessentially Filipino spirit in gestural strokes of green and blue, subtly hinting to a transparency that he and his modernist contemporaries had honed. There is a feeling of lightness, and a unarticulated breeze that wafts through the canvas and shadows the senses of the viewer, provoking the familiar sensation of a crisp mountain breeze.

60 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 60

JUVENAL SANSĂ“ (B. 1929) Untitled (River Rocks) Undated Acrylic on paper 57 x 83 cm (22 x 32 1/2 in)

PHP 280,000 - 320,000 Turquoise water channels through lush islets, crashing and dissipating into mist as they move away from the sea. There is a dynamic force at work, sharp white paint strokes clashing with the expanse of blue, emitting the power of waves against unmoving sea stacks where greenery dare grow.

Behind, a solitary boat sails obliviously on the horizon.

L o t 61

FEDERICO AGUILAR ALCUAZ (1932–2011) Untitled (Abstract) 1979 Oil on canvas 27 x 34 cm (11 x 13 in)

PHP 200,000 - 240,000

Accompanied by a Certificate of Authenticity issued by Christian M. Aguilar, dated 18 November 2017.

Certificate serial no.

03-2017-11-18 or-FAA-2071-fc-7-WT National Artist Federico Aguilar Alcuaz refers to the terrain surrounding his beloved Barcelona in this abstract work that pays tribute to the painterly style of his artistic comrades in Spain in the 1960s, in particular the delineated, rough-hewn and gestural works of Antonio Saura.

Lo t 62

H.R. OCAMPO (1911–1978) Mask

In this rare 1960s work, National Artist H.R. Ocampo engages his often used stippling technique to create the image of a tribal mask in his signature biomorphic style, his deft hand creating quick short strokes that neatly texture the canvas of familiar reds and greens. Ocampo’s

1961

abstracted forms were ceaselessly calculated and yet unconstrained,

Oil on canvas

completely fluid and open to interpretation. The forms he thoughtfully

70.5 x 54.6 cm (27 3/4 x 21 1/2 in)

laid out were constantly drawn from varying sources of inspiration, his

PHP 2,600,000 - 2,800,000

‘Mask’ series in particular kindled by books he encountered on African masks - their faces, hybrids of humans as well as horned animals such as antelope and buffalo. The masks were traditionally considered to impart the character of the animals on to their wearers - the antelope bringing good harvest and bounty, the buffalo strength and good relations.

Ocampo began depicting masks as part of a series in the 1950s, and a similar work was sold at Christie’s Hong Kong in 2014.

62 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 63

MAURO MALANG SANTOS (1928–2017) Untitled (Abstract Barong-Barong) Pastel on paper 1978 30 x 19 cm (12 x 8 in)

PHP 140,000 - 150,000 Mauro Malang Santos imbues the lowly barong-barong with a gossamer quality, the transparent cubist forms and pared down colors of the ramshackle structures transmogrifying harsh reality into a lofty, romanticized idyll.

Lo t 64

FERNANDO ZÓBEL (1924 - 1984) Untitled Serigraph 22/460 69 x 59 cm (27 x 23 in)

PHP 90,000 - 110,000 Ink is almost brushed in whispers upon the paper surface, spreading lightly from tangled branches which oscillate into blur. Inspired by Chinese calligraphy, a wispy form emerging as it floats above negative space.

Lot 65

ALFREDO LIONGOREN (B. 1944) Abstraction 1965 Mixed media 20.32 x 45.72 cm (8 x 18 in)

PHP 14,000 - 16,000 Distinguished for using abstraction to bring attention to social concerns, Alfredo Liongoren employs heavy impasto in layers of grey tones on this canvas, setting a solemn, melancholic atmosphere and creating the effect of looming clouds lingering to pour with rain. The roughly textured surface provides an earthy quality to the image, as if the artist had witnessed a similar scene in the province of South Cotabato—his hometown and a place where he found refuge after being discontented with the taste of success in the city.

Lot 66

FERNANDO ZÓBEL (1924–1984) Untitled Serigraph 272/460 52.5 x 71 cm (20 1/2 x 28 in)

PHP 120,000 - 140,000 In this serigraph print by spearheading abstractionist Fernando Zóbel, confident and controlled dark lines starkly contrast smooth, delicate hues of grey effortlessly blending into the white space. Bold strokes in black contour the shapeless gradations, capturing that ephemeral moment of a valiant bird amidst a misty atmosphere.

Lo t 67

EDUARDO CASTRILLO (1942–2016)

Employing his iconic brass

Mother and Child

material, renowned modern

2001

sculptor Eduardo Castrillo

Brass Sculpture

captures a playful, tender

82 x 42 x 31 cm

moment of a mother casting

(32.3 x 16.5 x 12.3 in)

her child up in the air. As his mother’s hands protect

PHP 160,000 - 180,000

him, the baby similarly has his arms in a floating embrace towards her. The scene is met with strength, power, and force through the solid, heavy metal medium. Raw yet refined, the piece exudes the vitality of life and the unbreakable bond between a mother and her child

Lot 69

ABDULMARI IMAO (1936–2014) Sarimanok (Sculpture) 2011 Pounded brass / Carved wood 32 x 32 x 26 cm Lo t 68

(12 1/2 x 12 1/2 x 10 1/4 in)

ARTURO LUZ (B. 1926)

PHP 38,000 - 40,000

Untitled (Anito) Undated

A triumphant force emanates this sculpture of a sarimanok—

Wood 92 x 31 x 30.50 cm

the mythical brass bird appears like a shining trophy atop the

(36 1/4 x 12 1/4 x 12 in)

wooden fish. Though employed in two vastly different mediums,

PHP 220,000 - 240,000

both figures are united in their intricate carvings that emphasize the creature’s lush, fluid curves. Exhibiting distinct qualities that

Chainlike blocks coalesce in this impressive

merited him to be the first Muslim National Artist, the work is

totem by National Artist Arturo Luz.

testament to how Imao effortlessly fuses Mindanaon motifs,

Referencing the Filipino term for household

modern mediums and forms, and the victorious Filipino spirit

deities or spirits, the hardwood sculpture

into one.

reiterates the artist's minimalist proclivity, reducing mass into the simplest shapes.

64 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

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L o t 71

ANASTACIO CAEDO (1907–1990)

ANASTACIO CAEDO (1907-1990)

Jose Rizal

Untitled (Mercury)

Undated

Cold cast marble

Cold cast marble

80 x 37 x 19 cm

70 x 25 x 18 cm

(31 1/2 x 14 1/2 x 7 1/2 in)

(27 1/2 x 10 x 7 1/4 in)

PHP 40,000 - 45,000

PHP 40,000 - 43,000

An acclaimed sculptor, Anastacio Caedo worked under the tutelage of Guillermo Tolentino. He was commissioned to work on a number of national monuments, the most notable of which is the MacArthur Landing Memorial in Tacloban, Leyte. His style is considered classical realist. Caedo also worked as a professor in the University of the Philippines School of Fine Art, instructing such students as Eduardo Castrillo and Abdulmari Imao.

Lot 72

Lot 73

ANGELITO ANTONIO (B. 1939)

JUVENAL SANSÓ (B. 1929)

Sungka

Untitled

1988

Pastel on paper

Oil on canvas

23.5 x 31 cm (9 x 12 in)

61 x 91.5 cm (24 x 36 in)

PHP 80,000 - 85,000

PHP 70,000 - 80,000

L o t 74

ELIAS LAXA (1904–1990) Country Road 1941 Oil on canvas 32 x 40 cm (12 1/2 x 15 3/4 in)

PHP 48,000 - 50,000 Widely known for his romantic impressions of Philippine landscapes, Elias Laxa paints a pre-war rural scenery as pure, lush, and peaceful. Two faint female figures are spotted strolling in the distance, enticing viewers to partake in the cathartic effect of nature.

Lot 75

SYM (SOFRONIO Y. MENDOZA) Untitled (Canal Corner) Undated Oil on canvas 26 x 21 cm (11 x 8 in)

PHP 50,000 - 55,000 A leading member of the Dimasalang School, Sym’s use of light sets his works apart from the cityscapes of his contemporaries. Mendoza breaks down his subject into strokes of light that suggest the structures of a street corner. While human subjects are absent, there is evidence of their routine a parked boat, and clothes hung to dry.

L o t 76

ISIDRO ANCHETA (1882–1946) Intramuros Undated Oil on canvas 24 x 32 cm (9 1/2 x 12 3/4 in)

PHP 45,000 - 50,000 Isidro Ancheta paints a nondescript Intramuros street - an honest but flattering plcture of weathered beauty. Bright sunlight emphasizes the venerable charm of the old city from time battered walls to missing bricks and rooted vines on the gateway.

66 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 77

SYM (SOFRONIO Y. MENDOZA) (B.1934) Untitled (Canal City) 1968 Oil on canvas 21 x 26 x cm (8 x 10 in)

PHP 50,000 - 55,000 Thick strokes of oil paint capture the light that reflects off a waterlogged city, as its citizens go about their daily humdrum. Mirroring calm, Sym paints the scene with the awe of an outsider highlighting the city’s unique heritage with a sincere glare of bright pastel hues.

L o t 78

MARTINO ABELLANA (1914–1988) Landscape (Marikina) 1978 Oil on canvas 30 x 38 cm (11 3/4 x 15 in)

PHP 70,000 - 75,000 Accompanied by an appraisal report issued

by Ramon Villegas.

Martino Abellana, dubbed the dean of Cebuano painters and its foremost academic artist, renders the farmlands of Marikina with a masterful play of light and shadow. Like his realist contemporaries, Abellana imbued his paintings with romanticism. In this particular scene, for example, two rural villagers traverse through a field of grass. Beyond them lays an expanse of nature and, even further, a body of water - visual poetry manifesting the sublime.

L o t 79

RAMON MARTINEZ (1889-1950) Farm Lady c. 1902 Oil on wood (relief sculpture) 36.19 x 21.59 cm (14 1/4 x 8 1/2 in)

PHP 35,000 - 40,000 A woman poses confidently, a farm woman clothed in festive garb paired with an equally fashioned salakot that rests upon her head. Splayed upon her chest are two religious amulets, a hint into the ethos of the portrayed woman. Her skin is darkened by work under the harsh rural sun, but she wears it with an equal amount of dignity. More than just a portrait, Ramon Martinez paints the story of a rural woman, recreating her small world, and transporting a message of unyielding pride in her circumstance.

Lot 80

OSCAR ZALAMEDA (1930–2010) Harvest 1951 Oil on canvas 30 x 39 cm (12 x 15 1/4 in)

PHP 140,000 - 160,000 This early work by Oscar Zalameda is both a rare finding and telling of his undeniable potential at the onset of his artistic career. Done only a few years after entering as a Fine Arts student at the University of Santo Tomas, the painting portraying a Philippine harvest scene is undoubtedly impressionistic—vastly different from the cubist style Zalameda became known for. Apart from suggesting his grasp of wide-ranging art movements, the work reveals his mastery of bold brushwork at a young age, capturing that quintessential impressionist portrayal of a transient, hazy outdoor scene.

L o t 81

ISIDRO ANCHETA (1882–1946) Untitled (Seascape) Undated Oil on canvas 60 x 80.5 cm (23 3/4 x 31 1/2 in)

PHP 160,000 - 180,000 Aqua tinted waves crash against each other along a rocky coastal shore in this seascape. A leading academic painter, Ancheta presents nature in flux. The clouded pink sky places the scene at dusk, the wet rocks emerging from beneath waves being pulled back into the ocean. Despite the lack of any living creatures, there is an elemental energy that permeates the canvas.

68 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 82

OLAN VENTURA (B.1976) Untitled (Couple 1 / Couple 2) 2004 / 2004 Oil on canvas (Lot of 2)

Multi-awarded for his provocative hyperrealist portraits, Olan Ventura presents the nude bodies of a man and a woman as polished and pristine. With eyes closed and hands cupped, the figures are imposed with an object each—a rose for the male, an apple for the female. A hypnotic pattern serves

122 x 61 cm (48 x 24 in) each

as a backdrop to the bodies, either in the form of a

PHP 220,000 - 240,000

form a tension in the couple’s narrative, raising

stained tile floor or a target roundel. These elements concerns such as what exactly is being targeted

Accompanied by a Certificate of Authenticity issued by Joel C. Mendez, M.D.

or whom the rose is for. Despite the anxiety in these clues, there is an exuding calmness in each figure’s face: they are free of wrinkle or worry, as if peacefully oblivious to their fate.

Lo t 83

WINNER JUMALON (B.1983) From Hortillanos Pachingguel 2012 Oil on canvas

Winner Jumalon sends his work’s viewers on a semiotic chase, as iconographic cues are set across the canvas, each as tauntingly symbolic and vague as the other, pointing to an answer that seems to lay within the visuals. It is a work to be solved, and the first hint is in the letter he had superimposed over wilting flowers. The

183 x 153 cm (72 x 60.2 in)

artist alludes to the mystery of his own person, sharing

PHP 230,000 - 240,000

ego Hortillanos Pachingguel. The darkened hues through

a personal conversation, and then referencing his alterwhich Jumalon chooses to tint his work only adds to the enigmatic disposition of the whole work.

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Lo t 84

Lot 85

EMMANUEL GARIBAY (B. 1962)

EMMANUEL GARIBAY (B. 1962)

Untitled

Mother and Child

2001

2005

Acrylic on paper

Acrylic on handmade paper

58 x 41 cm (30 x 12 in)

68 x 46 cm (27 x 18 in)

PHP 100,000 - 120,000

PHP 80,000 - 100,000 Purity radiates in this scene of a mother delicately playing with her daughter’s hair. The child is nonchalant as she embraces her mother by the leg, while her chin gently rests atop her hand cupping over her mother’s knee. Celebrated for drawing powerful narratives in an expressionist manner, Manny Garibay employs bold, expressive lines and smooth shades of white to contour the two female figures, bringing light and vitality to the soft, tender moment.

Known for his profoundly psychological portraits often Lo t 86

ESTATE OF ONIB OLMEDO Bionic Syndrome 2016 Fiberglass, reinforced resin, acrylic and oil 45 x 42 x 19.5 cm (17 3/4 x 16 1/2 x 7 3/4 in)

PHP 50,000 - 55,000

revealing a conflicted tension, Onib Olmedo translates a more literal portrayal of his somber character into the form of a sculpture. Whereas distorted, expressionist strokes would be used to depict an internal anguish in his paintings, a real hole was formed through the mind of the figure molded in this sculpture—suggesting that of a wounded memory or experience. Nonetheless, the sculpture maintains that iconic, intense gaze on the character portrayed by Olmedo—a character that mightily lives and endures throughout his works in spite of its deep internal strain.

Lot 88

JUSTIN NUYDA (B.1944) Untitled 1984 Oil on canvas 79.5 x 60.5 cm (31 1/4 x 23 3/4 in)

PHP 70,000 - 80,000

Lo t 87

JUSTIN NUYDA (B.1944) Protective Embrace

Blurring the lines between the abstract and the figurative, Justin Nuyda evokes both the wonderment of nature and the enigma of the mind in this oil on canvas. A powerful yet peaceful mood permeating a dreamlike space is drawn from the meticulous merging of fine strokes and somber tones of brown,

1989

beige, and blue. Two curved, red lines starkly stand out amidst this ethereal

Oil on canvas

landscape—appearing like a protective embrace from above.

63.5 x 63.5 cm (25 x 25 in)

PHP 90,000 - 110,000

Lot 89

Bordering on the surreal, there is a

JUVENAL SANSÓ (B. 1929)

dream-like quality to the grey land formations in this work. Beyond the

Cats

white fog, a lithic structure moves

Undated c.1960

around the canvas. One is left

Lithograph 191/250

to wonder about the relationship

36.5 x 26 cm

between these elements, the eye

(14 1/4 x 10 1/4 in)

lingering over the compositional

PHP 24,000 - 26,000

disruption.

Regarded as one of the champions of modern printmaking in the Philippines, Juvenal Sanso experimented with many different techniques during his long career. This undated lithograph of two cats shows the artist’s mastery of creating a sense of surreal dimension, his attention to compositional detail suggesting forms and spaces between the two subjects, whose monochromatic palette is reminiscent of the artist’s early dark expressionist works.

Lo t 9 0

The void, black space in this serigraph projects

ALFONSO OSSORIO (1916–1990)

an ethereal atmosphere for the enigmatic

Untitled

When one peers closely, the image evokes the

1984 Printer’s proof 34.29 x 26.67 cm (13 1/2 x 10 1/2 in)

PHP 75,000 - 80,000

symbols and raw figures floating in white. vastness of outer space. Stepping at a distance, however, one may feel as if he is peering into a microscope revealing tiny organisms. Known for delving deep into transcendental themes, Alfonso Ossorio enables the viewer to feel both minute and grand at once.

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Renowned for his mastery in academic painting, Romulo Galicano reveals his unmistakable technical skill in this three-portrait sketch rendered in pastel. Through rough yet confident strokes, he depicts three distinctive moods and expressions -whether the man is pensive, preoccupied, or intensely focused.

L o t 91

ROMULO GALICANO (B.1945) Untitled (Gentlemen)

Lot 92

White is sparsely and strategically used to add a

NENA SAGUIL (1914-1994)

sense of depth, light, and

Victoria

Undated

realism to these intriguing

1962

Pastel on paper

faces.

Graphite on paper

74 x 56 cm (29 1/4 x 22 in)

35.5 x 25.5 cm (14 x 10 in)

PHP 40,000 - 45,000

PHP 28,000 - 30,000 This rare figurative work is an intimate portrait of the artist’s sister, Victoria.

National Artist Carlos

The pioneer of abstraction

‘Botong’ Francisco

in the Philippines displays

explored the worlds

his inimitable versatility

of advertising and

in this figurative sketch. A

design. This sketch of

youthful woman gently sits

a young woman in

slouched on a chair: her

Chinese garb is part

face both contemplative and

of his acclaimed set

at ease. A quiet, intimate

design work for the

mood is drawn with soft

film Genghis Khan,

outlines, muted colors, and

which was showed in

thick, light strokes creating

the Philippine Pavilion

depth. Nevertheless, Joya’s

at the Venice Biennale

controlled shading and

in 2016.

articulated lines evident in this piece prevail even in

Lo t 93

CARLOS ‘BOTONG’ FRANCISCO (1912–1969)

L o t 94

his most abstract drawings.

JOSE JOYA (1931–1995)

The work thus exemplifies how Joya’s merit lay not

Untitled (Mei-Ling)

Untitled (Woman)

Undated

1976

Graphite on paper

in mastering fundamental 43.5 x 26.2 cm (17 x 10 in) drawing skills in order to

26 x 20.5 cm (10 1/4 x 8 1/4 in)

PHP 140,000 - 160,000

Sketch Accompanied by a Certificate of Authenticity issued by Salvador Juban

PHP 150,000 - 180,000

merely in grasping a particular abstract style, but

effectively evoke a feeling.

Lot 95

VICENTE MANANSALA (1910–1981) Nude Undated Charcoal on paper 41.5 x 33 cm (16 1/4 x 13 in)

PHP 100,000 - 120,000 Critics are one in saying that among Philippine visual artists, when it comes to rendering the female nude, nobody comes close to the technical skill and deft handling of form, light, and shadow of National Artist Vicente Manansala. Owing to his renown, it is well known that many ladies of Philippine society were more than happy to be drawn in the nude by the maestro, their demure poses, with faces tilted away from the viewer, maintaining their anonymity.

Lot 96

The lightness brought

JOSE JOYA (1931–1995)

forth by the pastel

Untitled (Nude Couple) 1995

medium both comprises and compliments the intimate scene sketched

Pastel on paper

by National Artist Jose

43.5 x 57 cm (17 x 22 1/2 in)

PHP 120,000 - 140,000

Joya. A woman rests her head on the lap of her lover, pulling him closer by the hand as the latter responds with a fond gaze. There is more to happen in the scene, but the artist chooses to render a moment in time

Lo t 97

captured.

CESAR LEGASPI (1917-1994) Untitled (Nude) Undated Pastel 93.35 x 72.39 cm (36 3/4 x 28 1/2 in)

PHP 80,000 - 85,000 Vital member of the Thirteen Moderns and Neo-Realists, National Artist Cesar Legaspi exhibits his mastery in human anatomy in this female nude, appearing tranquil as she gazes at a faraway distance. The delicate strokes in pastel gradually grow rough and hazy as they move from the face to the torso, bringing light to the woman’s defying features—a graceful profile and the soft, natural waves of her hair.

74 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lot 98

Lot 99

H.R. OCAMPO (1911–1978)

H.R. OCAMPO (1911–1978)

Untitled (Dedicatred to Celia)

Untitled (Dedicated to Candea)

1977

1978

Ink on paper

Ink on paper

30 x 22.5 cm (12 x 9 in)

27.5 x 21 cm (10 3/4 x 8 1/4 in)

PHP 75,000 - 80,000

PHP 75,000 - 80,000

L o t 100

FERNANDO AMORSOLO (1892-1972) A set of 10 Nude Etchings Undated Circa 1920s 28 x 43.2 cm (11 x 17 in) each

PHP 180,000 - 200,000

One of the core appeals of Amorsolo’s cherished art work, was his impeccable skill to compose the human person in their most ideal light. Left with nothing to decorate their nude forms, these 10 charcoaled women exude a grace that radiates from the smooth gradient between shadow and light trickling on the curves of their forms. Light does not just accentuate them, but instead defines them, giving them dimensionality and existence in a plain of negative space.

L o t 10 2

J.ELIZALDE NAVARRO (1924-1999) Bagusina Islet, Padre Burgos, Lucena 1979 Watercolor on paper 32.5 x 22 cm (12 3/4 x 8 3/4 in)

PHP 60,000 - 65,000 National Artist J. Elizalde

Lo t 101

Navarro hanesses the

JOSE JOYA (1931–1995)

challenging medium of

Untitled (NYC series)

waterclor to create three distinct textures of nature:

Pen and ink

the serenity of water, the

28.5 x 35 cm (11 1/4 x 13 3/4 in)

rigid structure of rock

PHP 80,000 - 90,000

formations, and the lush softness of greenery.

Accompanied by a Certificate of Authenticity issued by Josefa Joya Baldovino dated 14 November 2017

L o t 104

GALO OCAMPO (1913–1985) Designs for the stained glass windows of Manila Cathedral (Main Altar) 1958 Pen and ink (Set of 2) 43 x 27.5 cm (17 x 10 1/2 in) each

PHP 50,000 - 55,000 A trailblazer in Philippine modern art and indigenizing religious iconography, Galo Ocampo exhibits his mastery in merging modernism and divinity through his refined sketches of the Manila Cathedral’s stainedglass windows, revealing how studies can be just as valuable as the finished product.

Sent to Rome to study stained-glass design

by Archbishop Rufino Santos, Ocampo depicts scenes of a venerated Mother Mary in a distinctly modern, geometric manner.

Lo t 103

There is as an intimacy in these sketches

BENCAB (B.1942)

wherein Ocampo strips biblical characters

1993 Etching 15/50 32.5 x 25 cm (12 1/2 x 9 3/4 in)

PHP 33,000 - 35,000 Provenance: Ramon Villegas Collection

to their most essential outlines and shapes, telling deeply layered stories through simplified forms. Transposed in color on the stained-glass windows, the sophistication found in these sketches eventually serves a crucial element in setting a devotional atmosphere for the iconic cathedral.

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76

This collection of prints reproduce some of the many famous

L o t 10 5

JOSÉ HONORATO LOZANO (1821-1885) A set of 6 colored lithographs 40.5 x 26 cm (15 3/4 x 10 1/4 in) each

PHP 300,000 - 330,000

watercolor paintings of the 19th century Filipino mestizo artist Jose Honorato Lozano. Lozano chronicled not only the lives of the Spanish - influenced illustrado classes who lived within the principales but also the many different ethnic groups found within the archipelago. Each image is portrayed with meticulous detail, the charming characters illustrating the people of the Philippines to the global community.

L o t 10 6

GEORGE HOUSMAN THOMAS (1824-1868) Assault Du Fort De Sanditan 1866 Watercolor 33 x 47 cm (13 x 18 1/2 in)

PHP 120,000 - 140,000

This rare historical work depicting the Spanish army as they suppress a Moro revolt in Sanditan, Mindanao, is portrayed through the perspective of two fascinating figures - the French Duke of Alençon and British court painter George Housman Thomas. A telling account written in the duke’s diary reveals the strength and agility the Moros displayed in this battle.

Translated into a watercolor painting, the piece displays impeccable mastery in draftsmanship and delicacy in painting - leaving viewers doubtless as to how the artist impressed Queen Victoria herself.

Lo t 107

P. PEDRO MURILLO VELARDE 1749 Old vellum

PHP 100,000 - 150,000

In an exceptionally clean restored state but without the map by Nicolas dela Cruz Bagay Historia de la Provincia de Philipinas de la Compania de Jesus. Segunda parte, que comprehende los progresos de esta Provincia Desde El Año de 1616, Hasta El de 1716. Por El P. Pedro Murillo Velarde de la Compania de Jesus, Chronista de Dicha Provincia.

L o t 10 8

JUAN LUNA Epistolario Del Pintor (Con Un Estudio Grafologico De Sus Cartas Por Matilde Ras) Booklet PHP 35,000 - 38,000 This rare and highly collectible booklet was written by the researcher José Policarpio Bantug, who dedicated his life to studying pre-Hispanic Philippines, its art and culture, and the life of National Hero Dr. José Rizal. It reproduces some of the letters of Juan Luna to personages of the time, referring precisely to the great Exhibition of Paris of 1889. Besides being personally dedicated by the author, it contains an exhaustive analysis by Adelina Gurrea of the graphology in the writing of Juan Luna, highlighting its marked, passionate character.

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Lo t 109

JUAN LUNA Y NOVICIO Letter to Sr. D. Ezequiel Ordoñez 9 December 1892 Ink on paper Mazas Prison, Paris, 19.68 x 31 cm (7 3/4 x 12 1/4 in)

PHP 150,000 - 180,000

This letter, written by Juan Luna while he was incarcerated at the Mazas Prison, Paris, after the killing of his wife Paz and his mother-in-law is consigned to us by a Spanish collector who acquired it from the archives of Don Ezequiel Ordonez. The text, translated in English, is as follows: Most Excellent Sr. D. Ezequiel Ordoñez, My distinguished friend; I have received your two attentive letters as well as that of the Director for Public Instruction. Very much I will be glad that Mr Minister does not forget me and, Mister Ordoñez I do not know how much to thank you for what you do for this unfortunate man. My trial will probably be held towards the middle of next January and despite my sad situation, I almost prefer to wait resigned and patient this New Year because I can assure you that this has been a disastrous year for me I am looking forward to see it disappear off the calendar. I see my Andresito three times a week, thanks to the kindness of my Judge who has really behaved like a true gentleman. When I get back to that one, I ll take this rest of my destroyed family so I'll meet yours and he will play with them Hoping to see you soon I will thank infinitely for your great services with this occasion I will remain always of You grateful, your unfortunate friend Juan Luna Ezequiel Ordoñez was an important political figure of the late nineteenth century. A lawyer and life senator, he was Subsecretary to Minister of Overseas Affairs. There is no record of any other letter written by Luna during his incarceration after the double killing. Ordoñez was born in 1843 in Villa de San Miguel, Pontevedra. He had an important influence in the area of Galicia and Bajo Miño, and it is thought that it was because of his friendship with Luna that a reconciliation of the estranged spouses was being arranged in Vigo, Galicia. According to research made by the consignor, Ordoñez stayed in the Philippines sometime in the 1890s further explaining the politician's close ties to Luna. Worth noting from this letter is evidence of Luna's contact with important Spanish political figures and the fact that he enjoyed in prison certain privileges not given to other inmates, among these frequent visits by his son Andrés, who was then tutored and cared for by his brother General Antonio Luna, who came to see him three times a week. Based on this letter, it would seem that Luna knew clearly that despite his very serious crimes, he would soon be released: "...When I return I will take the rest of my family... hoping to see you soon."

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Lo t 110

Lot of 19 Religious Icons and Ex-Voto Painting Last Quarter, 19th Century Molave, Narra & probably few Lightwood Bohol Dimensions variable

PHP 550,000 - 600,000 Religious icons are small paintings usually on wood. They were regarded as lowly paintings in the past because they are most commonly found in the remote Visayan provinces. They reached the pinnacle of popularity in the late 19th century but enjoyed a resurgence in popularity in the 1980s. Made by mostly untrained artisans, they were sold to devout believers to display in their home altars to venerate the family’s patrons saints, each invoked for a specific need or situation. San Vicente was called upon when seeking healing from sickness. San Isidro Labrador, patron saint of farmers, was venerated for good weather and bountiful harvest. Using polychrome paint derived from natural pigments, images of saints were painted on mostly hardwood. With the exception of very few pieces, most of these icons were not signed. The makers who could have been under direct supervision of the friars prohibited them from signing the pieces as a gesture of humility and modesty. As some have conjectured, these icons were not signed because they were made by artisans and not by artists. In general context, on the other hand, a religious painting dedicated to a particular saint in a fulfilment of a vow is called an Ex-voto. This lot on offer is composed of 19 icons on wood and 1 big ex-voto oil painting, all unsigned, and described as follows: 1 x Nuestra Señora de Salvacion, 2 x Nuestra Señora Del Rosario, 1 x Inmaculada Concepcion, 1 x Familia Sagrada, 2 x San Jose, 3 x Sto. Niñ0, 2 x San Isidro Labrador, 1 x San Roque, 1 x San Sebastian, 1 x San Vicente, 2 x San Vicente (with doors), 1 x San Pablo at San Pedro (tabernacle door), 1 x Holy Spirit; and 1 x Ecce Homo framed oil on canvass painting with glass.

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L o t 111

UNKNOWN ARTIST Señor Dela Pacencia Late 18th to Early 19th Century, Pangasinan Medium hardwood traces of Polychrome and Gesso 64.5 x 30.5 x 35.5 cm (54 3/4 x 20 3/4 x 10 3/4 in)

PHP 200,000 - 250,000

The mocking of Jesus is mentioned in the canonical gospels to have occurred in three stages, as part of the Jesus’ passion. The first stage is his condmnation by the Sanhedrin (a Jewish judicial body), the second stage is the scourging of Jesus, and the third stage is at the Crucifixion.

This Señor de la Paciencia (Christ of Patience) is a poignant depiction from the second stage wherein after scourging, he was crowned with thorns, cloaked with a purple or scarlet robe and made to hold a reed as sceptre by Roman soldiers, then he was made to sit as Pontius Pilate presented him to a rowdy crowd.

Here Jesus is shown seated, his right arm resting on his thigh, and hand cupping his face. His left hand is missing and may have held a reed as sceptre. He looks exhausted and disoriented, mouth slightly open revealing his teeth. His coiffure is gouged long and straight from the top, then waving, curling and scrolling at the sides and back; his beard is also incised and curled at the tips. The three holes through the cranium were intended for the potencias. He wears a humble loincloth gathered and knotted at one side of the waist. He is pegged on a four-legged stool with scalloped apron. Part of his left foot is missing. While most of the polychrome paint is missing exposing what is left of the white gesso primer, the wood remains in solid, very good condition.

This evocative, arresting, extremely beautiful and powerful image of Christ in passion was exhibited at the San Agustin Church Museum in 2012 and at the Manila Cathedral in 2017.

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Lo t 112

UNKNOWN ARTIST Wooden Virgin and Child Last Quarter, 19th Century, Manila Hardwood 139 x 53 x 27 cm (54 3/4 x 20 3/4 x 10 3/4 in)

PHP 350,000 - 380,000

Provenance: Doña Fe. C. Ongpin, then to a private collector

Our Lady of the Rosary is one of the most popular and revered in the Philippines as attested by numerous patronages around the country. Originally called Our Lady of Victory after the Battle of Lepanto in 1571 to commemorate the victory of the Holy League against the mightier Ottoman Turks in the Gulf of Lepanto (modern Nafpaktos, in Greece), the Church established a feast in honor of the Virgin Mary’s intercession upon hearing the people’s prayers of the rosary. This beautiful life-sized depiction of the Virgin and Child, formerly an ecclesiastical piece, has been given the title of Our Lady of the Rosary and is a book piece. According to Tiongco (Old Religious Art of Panay by Jose B. Tiongco, 1981, item number 75), this is “A large solid hardwood image of the Blessed Virgin carrying the Infant Jesus. A baroque masterpiece of flowing lines and graceful attitudes.” The Virgin’s face has classic European features with tremulous rosy blush. She has long curly tresses, some resting on her shoulders but mostly flowing on her back in continuous gouges. The long tunic and the outer mantle show delicate folds and draperies. She may have held a rosary or a sceptre with her right hand while her left hand is carrying the child Jesus. He has a beautiful face, rosy chubby cheeks, topped with ringlety hair. Both have glass eyes. The whole image, including the base, was cut in the round (santo de bulto), but a plinth surround base in molave was added later on as reinforcement. An old D-ring nailed at the back of the Virgin suggests it must have been previously enshrined in the retablo of an old church. There are signs of age and use on both the figures and the base.

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Lo t 113

SCHOOL OF ASUNCION S. Miguel Arcangel Undated (c. 19th century) Oil on wood 33 x 23 cm (13 x 9 in)

PHP 180,000 - 220,000

Lo t 114

This well-document and exceedingly rare painting by the 19th century master

MARIANO ASUNCION (1802–1885)

Mariano Asuncion shows the majesty of the crowning of the Virgin Mary as

Coronation of the Virgin 1860’s Oil on wood 39.9 x 29.5 cm (16 x 12 in)

PHP 1,400,000 - 1,600,000

Queen of Heaven and Earth, the rich, sumptuous detail of the intricately painted folds of her robe, and the gold leaf used illustrate her corona and halo as she is carried aloft by cherubs and flanked by the Trinity, heralding her elevation to demi-deity.

Exhibition: Art & Family: The Asuncion Legacy, Ayala Museum, Makati City, 8 August 2017-14 January 2018 Literature: Art & Family: The Asuncion Legacy (Makati City: Ayala Foundation, Inc., (2017), p. 68 Archipelago Magazine, September 1979

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Lo t 115

Urna Last Quarter, 19th Century, Bohol Molave with Polychrome 114 x 88.5 x 37 cm (45 x 34 3/4 x 14 1/2 in)

PHP 60,000 - 65,000 Urna or house altar is a miniature wooden niche for santos or religious icons. Assembled only by mortise and pegs and stacked upright, they are delicately carved in low relief in the local rendition of Baroque and Rococo styles in the forms of religious themes, flowers, foliates, scrolls and strong colors. Urna from Bohol made during the 19th century is one of the most instantly recognizable folk art genres because of its imposing size, bright colors, remarkable design and workmanship, and quaint aura overall. This urna has a crown with foliated ridges surmounted by foliated arches and perched with a cross. The arches and cross element is not a common feature in most urna of similar style. The frieze has a cartouche flanked by leaves. The main niche, wherein the santo is enshrined has scalloped frame, solomonic columns and wings on either side decorated with foliated scrolls. The lower frieze is carved with flower and leaves. The niche rests on a removable 3-stepped grada heavily decorated with arch, diamond pattern, scrolling acanthus leaves and flowers. There are traces of old scraping, and losses of polychrome paint and gold leaf in some areas. A 19th century polychromed Bohol Inmaculada Concepcion image is included.

L o t 116

Pair of Butaca Chairs 1st Quarter, 20th Century, San Isidro, Nueva Ecija Narra 118 x 134 x 78 cm (46 1/2 x 52 3/4 x 30 3/4 in)

PHP 50,000 - 60,000

These chairs are called silla perezosa, but more popularly known as butaca. The curved seat and tilted back - in one continuous piece - is covered with woven solihiya or rattan strands, combining a look with airy fragility but with strong fortitude. The arched rail is decorated with an oversized crest of flowers, foliates and fronds, with a medallion at the center engraved with petals, possibly a crown, and stipples. The broad arms and inclined back that characterize chairs like these – and the rich texture and subtle woody scent of the rattan – make them perfect for lounging and siestas. Slightly narrower in width and with shorter arms than usual, these are ideal if space is a constraint. The solihiya is old replacement. Overall, in good original condition and patina. Butacas first gained popularity during the 19th century Spanish colonial era, then well-enamored by the Americans, and remain a regular fixture in most ancestral houses to this day.

L o t 117

Comoda Last Quarter, 19th Century Narra Ilocos province 120 x 123 x 57 cm (47 1/4 x 48 1/4 x 22 1/2 in)

PHP 50,000 - 60,000 This classic comoda from the Ilocos region has become one of the most recognizable pieces of furniture in the country, owing to its unique profile and design elements. Its popularity exploded in the 1970s and has become a tenacious feature in almost all ancestral homes, including those in the southern regions. The single-piece top is grooved on the sides and decorated with beads.

The sides of the top appear like cornices propelling its height to soar, creating a robust and imposing appearance. The top pulls out as a secret drawer, and its keyhole has been patched long ago ostensibly not to reveal the presence of such compartment.

Each door below is bounded by straight mouldings and grooves. The twin arches design with dangling flower and leaves is reminiscent of a gothic style element, with spandrels of scrolling flowers and foliates on top. The entire cabinet is made of narra, including the barley-twisted posts between turned urns and inverted vases that terminate in disc feet, all stained in black to simulate the appearance of dark kamagong wood.

90 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 118

Altar Table Last Quarter, 19th Century, Baliuag, Bulacan Narra with Carabao bone and Kamagong inlays 95 x 119 x 54.5 cm (37 1/2 x 46 3/4 x 21 1/2 in)

PHP 150,000 - 200,000

Baliuag altar tables, characterized by its creative use of wood and bone inlays and ideal size, remain to be one of most recognizable and desired pieces of furniture. The top is made from a single plank of wood. The bone inlays are mostly diamond- or lozenge-shaped, arranged in several configurations to create different patterns. The front and sides of the body frame is lined with lozenges. Each drawer has grooved twin borders in kamagong and lanite inlays, circling around the keyhole and curving at the corners. Lozenges run along the perimeter of this border, stopping at the keyhole and quadrant corners decorated with 4-leaf flowers. Sawtooth pattern emphasizes the curve below the keyhole, while stylized buds or leaves strung by kamagong string inlay like a lei hangs from the turned kamagong knobs, which are old replacements. Similar stylized strung buds or leaves decorate the vertical frame; the same running lozenges can be seen on the sides of the table. Stellar flowers decorate the knees and the center of the arched / scalloped apron. Few missing inlays have been restored. The legs are ring-turned, with tapering shafts, which again are ring-turned to form the reel feet. One drawer face and one rear knee / leg have some insect damage but the cause has been treated and arrested long ago. Drawer floors are in tanguile wood and original. The frame under the drawers and the side panels are in a darker red narra wood that creates a lovely, subtle contrast with the yellow narra. The classic profile of this table and the imaginative use of inlays make this elegant table desirable to own and adore.

Lo t 119

Altar Table Last Quarter, 19th Century Baliuag, Bulacan Narra with carabao bone and kamagong inlays 83 x 123.7 x 56.5 cm (32 3/4 x 48 3/4 x 22 1/4 in)

PHP 150,000 - 200,000 From late 18th century throughout the colonial period, altar table or mesa altar was a regular feature in the living rooms of both opulent and modest homes. On top were displayed venerated saints and other paraphernalia. The drawers were used to store prayers books, rosaries, candles and others. This altar table has delicate silhouette with ample inlays that are not all singing and dancing, but all whispering beauty and elegance. The edges of the mitered top and the drawer frame are lined with kamagong strip, then dotted with bull’s eyes in bone and kamagong center.

The vertical frame and knees are bordered by kamagong inlay sandwiched between bone inlays; in the middle are either linear lozenges or stylized strung flower buds or leaves. The drawer faces - all inlaid in bone - have straight and curving borders, enhanced further by lines of lozenges and sawtooth pattern on the sides, and around the keyholes and knobs, from which similar stylized strung buds or leaves with flowery tips swerve and hang like a lei.

The sides of the tables are framed by simpler lozenge borders. Front apron is scalloped with lone flower inlay at the center. Some inlays have been restored. Ostensibly supporting all corners of the table top are flanges with a squiggly profile, which appear to be faithful replacements from the original design. Below the knees the square tapered legs are attenuated and crimped on top that swell and narrow downwards, terminating in spade feet. Graduating rectangular inlays with flowers and leaves underline the shape of the legs.

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Lo t 12 0

Chest of Drawers 1920s to 1930s Narra with Kamagong and Lanite inlays Laguna 104.5 x 50 x 120 cm (41.2 x 19.9 x 47.3 in)

PHP 240,000 - 280,000

This chest of drawers evolved from a coffer with hinges and with one drawer underneath, to a mule chest with two drawers underneath. When its popularity reached the Philippines by the 1800s, chest of drawers and comoda with two drawers and two doors emerged, the former being more rare and more unusual. This chest of drawers from the Art Deco period has simple lines and is devoid of the design excesses of the previous eras, but still has feel of sophistication and luxury. The thick one-piece top has grooves on the edges creating a cornice-like appearance.

The vertical frame containing the four drawers is also grooved. Each drawer has rectilinear triple-border inlays in kamagong and lanite wood, with some restorations. The added silver escutcheons protect the keyholes from damage to the wood and finish. The turned kamagong drawer knobs with silver center are replacements. Two of the ogee bracket feet appear to be replacements using old wood.

Lo t 121

Comoda Last Quarter, 19th Century Tayabas, Quezon Narra with Carabao bone, Kamagong and Lanite inlays 108.5 x 110.5 x 49 cm (42 1/2 x 43 1/4 x 19 1/4 in)

PHP 180,000 - 200,000 Comoda was a low upright cabinet that was a regular feature in the bedrooms of 19th century Philippine homes. They were used to store clothes and table linens among others, and to hold santos or religious images venerated by the family. The archetype had two doors only, some had additional two drawers either above or below the door, while the bigger examples had three drawers above the door. In all the cases with drawers, they had always been arranged in linear / straight configuration. Not in the case of this comoda here believed to be a work of the famed but elusive Quezon master. It has 3 drawers: on top are two small drawers, then a larger drawer below, and then the two doors. Very unusual configuration.

There is an additional drawer floor fixed on each level, a feature only seen in high-end pieces. There is no fascia (senepa) that usually supports the door platform for more height; instead the perfectly-shaped bun feet lift it only a few inches off the floor, giving the cabinet a squat, delicate bearing. Each drawer has very fine twin border inlay in kamagong and lanite, and sparse but bigger reel bone inlay inside. Bone inlays in sawtooth pattern surround the keyhole fitted with original brass escutcheon, though missing on one of the keyholes. The center of the larger drawer is further decorated with lozenge-shaped bone inlays strung by kamagong inlays forming a swerving lei-like pattern. C-shaped brass handles are old replacements.

Similar lei-like inlays surround the inner edge of the raised oval of the doors, with more elaborate stellar flowers decorating the center. Turned kamagong door knobs are old replacements. Trace of rounded keyhole on the door can be noted. The shelf inside is made of tanguile wood and is original. Running bone lozenges underline the whole frame of the cabinet. No restorations done on few missing inlays. The one-piece top is supported by 4 posts which have been ringed, turned and reeded. The front posts are in stained narra wood, while the rear posts are in kamagong wood – one of which has a fixed crack near the top, but all posts are original. This rare and unusual comoda is in original good condition and patina. A true work of a master!

94 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

L o t 12 2

Buffet Cabinet 1st Quarter, 20th Century, Manila Molave and narra, with original silver keyhole escutcheon and knobs 121 x 215.5 x 70.5 cm (47 3/4 x 84 3/4 x 27 3/4 in)

PHP 250,000 - 450,000

Previously owned by a wealthy business family in Pasay City.

Rehabilitation of the growing number of prisoners in the Bilibid Prisons became one of the priorities during the early years of the American colonizers by establishing an industrial division.

Not long after, they began producing household and office furniture arguably unrivalled in terms of craftsmanship, design and prolificity.

This massive buffet cabinet is from the early years of the institution’s industrial division, considered by many as its glorious era. Except for the posts in narra wood, the entire cabinet is made of molave wood, prized for its high strength and density (the same wood is used as railway sleepers), straight grain, golden yellow color and very smooth texture (once polished and waxed).

The wood is becoming very rare now and the trees are

out from from a thick, single slab of wood – feature a

protected. The serpentine-shaped front has bow front and

cartouche that forms a shield with urn and flowers inside, with

concave sides with the most florid, magnificent low-relief

more acanthus leaves and bellflowers filling up the space.

carvings filling up most of the front part. It is a showcase of

Doors can be opened using the key, now missing, through

a combination of different styles as manifested by a mix of

the silver-escutcheoned keyhole. The frieze, main frame and

design elements present: Baroque (light and dark contrast,

valanced apron have similar gadrooning as at the top, and

barley-twisted posts}; Chippendale (c-scrolls, acanthus leaves,

rolling or running acanthus leaves. Posts are turned, ringed,

gadrooning); Hepplewhite (bellflowers, urns, bulbous beads,

carved with enveloping acanthus leaves, bulbous beads

serpentine-shaped case front); and Rococo Revival (scrolling

and flowers, then terminating in scrolled leafed feet. Such

foliates, flowers, cartouche, scrolled feet). The one-piece top

enormous attention has been put into this cabinet that even

which shows some delicate crackings, a characteristic inherent

the back panels, though out of sight, are bevelled. To create

to molave wood, has a cavo-relievo acanthus bud and dart

contrast the background areas have been stained darker than

gadrooning running from the side, around the circular corners,

the relief carvings, making the carved details pop out more,

the serpentine front and all the way to the other side. The four

resulting to a more dramatic impression. Overall, the cabinet

drawers have deeply carved cartouche, scrolling acanthus

is in very good, well-loved condition.

leaves and bellflowers. The keyhole escutcheon and knobs are in silver and all original. The concave doors – each hollowed

96 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 123

Altar Piece Frontal Late 18th to Early 19th Century, Bohol Molave with Polychrome & Gold gilding 97.5 x 282.5 x 5 cm (38 1/2 x 111 1/4 x 2 in)

PHP 350,000 - 400,000

In Catholic churches, the altar is usually a table upon which the Eucharist during Holy Mass is celebrated. In old Catholic churches in the Philippines, areas that surround the altar include the steps, ledges and the altarpiece or retablo. The retablo, positioned behind the altar, is a vertical structure usually made of wood which are intricately and heavily decorated with flowers, foliates, scrolls, columns, angels, cherubs and niches. Niches are where the patron saint of a church and other saints affiliated with the particular religious order under which the church belongs. This frontal was for a very long time part of the base that supported what would have been a magnificent retablo in Rococo style. It was removed from a church in Bohol during the modernization of its interiors which was ‘de rigueur’ in the 1970s. Made of 3 panels, joined by two vertical brackets at the back, this extremely heavy and highly-prized molave wood measuring over 9 feet long, has been beautifully carved in low relief, primed in white gesso, polychromed, and subsequently gilded at a later date. The three perimeter sides have graduated triple borders: the back edge or outer border features an open acanthus leaf at top center, and scrolling foliates and flowers; the hollow or second border shows twin beads with alternating lozenge and ellipse links running like a strand; and the front edge or third border has swaying fringes on top only. The focal point is the big medallion showing two winged angels with ringlety hair pointing to a flaming heart pierced by two fletched arrows – an emblem of St. Augustine of Hippo (Doctor of the Church, died year 430 AD), who in his writings used the heart as a metaphor for his spirituality and the arrows as words of God that led to his conversion and faith. Pomegranate flowers and scrolling acanthus leaves, in bolder and larger scale, emanate from the central relief. The polychrome paint applied was made from natural pigments in colors red, yellow, orange, vermillion and green. The carvings, at a later stage, were gilded in gold leaf using real gold mixed with silver and copper, then melted resulting to a malleable alloy, then pounded repeatedly until it became thinner than paper. This was then cut into small squares, then meticulously laid - one by one - on the glued raised surface. Finally, the gold leaf was burnished using a brush to press the gold leaf and achieve an even finish. There are some cracks on the wood, and paint and gold leaf losses commensurate to age. This is an important historical piece that went to the ownership of a wealthy business family in Pasay City over 40 years ago, and the first piece of its kind to be offered for sale in the open market.

98 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

10 0 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 124

KINAHU A Ritual Bowl Early 20th century, Luzon, Philippines Narra wood with reddish brown patina Early 20th century Ifugao, Northern 8.5 x 27 x 12.7 cm (3 1/4 x 10 3/4 x 5 in)

PHP 15,000 - 20,000

L o t 12 5

A Fine Rare Kankanay Igorot Head Dress Carved wooden figure on rattan/bamboo weaving with dark reddish brown patina c. 1900 12 x 22 x 22 cm (4 3/4 x 8 1/2 x 8 1/2 in)

PHP 20,000 - 30,000

L o t 12 6

KINAHU Fine ‘Zoomorphic Bowl’ with Heavy Encrusted Patina, partly shiny Late 19th century, Central Ifugao wood Narra 7 x 27 x 12.5 cm (2 3/4 x 10 1/2 x 5 in)

PHP 25,000 - 30,000 A fine example of how the Ifugao and other peoples of the Cordillera created beautiful functional objects. The food bowl is in the shape of a standing dog, the head and tail functioning as convenient handles . The piece has traces of heavy encrustation, as well aas areas with a glossy patina from years of use.

Lo t 127

L o t 12 8

This rare example of a meatcutter

TANGONGO

130 A Fine Figurative Igorot Meat Cutter

probably casted it the region

Carved Wood Box with Handles in the Form of Animal Figures, Probably Pigs or Dogs c. 1900, Central Cordillera, North Luzon Narra wood box, lid probably later replaced 25 x 39 x 24 cm (9 3/4 x 15 1/2 x 9 1/4 in)

PHP 18,000 - 25,000 Provenance : Romeo Bauzon

Early 20th century

used during rituals was most close to the border Ifugao / Bontoc Prov. Ex. Hiro Kobayashi

Brass

collection, Kyoto Hiro Kobayashi

Northern Luzon

collected in the early 1980’s

28 x 31 cm

until mid 1990’s a large number

(11 x 12 1/4 in)

of Igorot brass adornments and

PHP 30,000 - 50,000

small artefacts during his several expedition to North Luzon and was internationally well - known as Photographer of indigenous people of the Philippines.

Lo t 129

PUNAMHAN (PRIEST’S BOX) Carved wood box with handles in the form of male and female ancestors, the cover has a carved lizard Mid 19th century Ifugao, Ifugao, Northern Luzon Narra wood 20 x 76 x 24 cm (7 3/4 x 30 x 9 1/2 in)

PHP 25,000 - 30,000 Provenance : Romeo Bauzon

10 2 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 13 0

A rare Calatagan LIKHA Figure, Stone with figurative carving, 14th to 16th century 24 x 15 x 10 cm (9 1/2 x 6 x 4 in)

PHP 60,000 - 80,000 Provenance: Private collection Manila. Collected 1986, 'Likha antiques', Jean Luis Levi, Manila

Lo t 131

A STANDING GRANARY GUARDIAN/BU’LUL A Late 19th Century Taguiling Carving Narra wood with natural, reddish patina Natural wear on base 23 x 9 x 6 cm (9 x 3 1/2 x 2 1/2 in)

PHP 25,000 - 35,000 Provenance: Private collection USA Taguiling carving with natural reddish patina. It depicts a kneeling Ifugao man beating a gangsa or brass gong. Tattoo designs have been incised on the chest, legs and arms. The face is typical of Taguiling works with the long beak nose, squinty eyes and pursed lips. Note also the finely delineated ears, another hallmark of the Taguiling style. Taguiling of Kababuyan was a skilled Ifugao carver who lived and worked at the turn-of-the-last century. The period was marked by the arrival of the American colonizers seeking to pacify the Ifugao and other indigenous peoples of the Cordillera. Taguiling’s sculpture is a record of this period of contact. The faces of his bu’lul figures are said to be portraits of historic figures, like the second Governor of Ifugao, Jeff Gallman. Taguiling was also both a carver of ceremonial bu’lul as well as commercial carvings meant for the early Tourist trade. This small carving was part of a set of figures acquired in the Philippines around 1920, and inherited by a family in North Carolina, where they remained until their recent de-accession.

L o t 13 2

HAPAG A Pair of seated Figures 20th century, Hengyon area, Ifugao, North Luzon Narra wood, lightly patinated 13.5 x 5.5 x 5.5 cm (5 1/4 x 2 1/4 x 2 1/4 in) / 12.5 x 5.5 x 5.5 cm (4 3/4 x 2 1/4 x 2 1/4 in)

PHP 18,000 - 23,000

Lo t 133

BU’LUL A rare early seated Bu’lul with heavily encrusted blood patina most probably from Poitan 19th century or earlier, Eastern Banawe, Central Ifugao Narra wood Poitan, 77 x 18.5 x 18.5 cm (30 1/4 x 7 x 7 in)

PHP 170,000 - 250,000 Provenance : George Schenk

104 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 134

HUGOHOG Ifugao Hearth Figure Seated 20th century, Ifugao, Northern Luzon Narra wood, metal base 63 x 10 x 12 cm (24 3/4 x 4 x 4 3/4 in)

PHP 50,000 - 70,000

Bulol house post that was originally placed inside the hearth of a village hut. The Hugohog are a part of this genre of objects. Usually carved in pairs, they depict seated or standing bulol figures. The joints in this pieces indicate that they were attached to walls where they formed a part of the hearth and cooking area. This fine example has av heart - shaped face and thick encrustation of root.

Lo t 13 5

BU’LUL A Fine Standing Male Bu’lul with Natural Patina Mid-19th century, Hapao, Ifugao, Northern Luzon Narra wood 41 x 12.5 x 12.5 cm (16 1/4 x 5 x 5 in)

PHP 80,000 - 120,000

Provenance: Rudolf Kratochwill The figure from the Hapao / Hunduan region are depicted as standing figure with the hands resting on the upper thighs, the legs slightly bent. This sculpture depicts a male ancestor, wearing the bowl - shaped haircut typical of Ifugao men.

Lo t 137

An Early Kalinga or Bontoc Axe Late 19th century, Cordillera region A wooden handle with metal blade in original condition with traces of corrosion 65 x 27 cm (25 1/2 x 10 1/2 in)

PHP 20,000 - 25,000

Ex. French collection, SalorgesEcheres auction, Nantes, France

Lo t 13 6

Kinabigat (King Post) Early 20th century, Amgana, Ifugao, North Luzon

L o t 13 8

Kalasag (Wooden Shield)

243 x 14 x 12 cm

19th century Mindanao Highlands Southern Philippines

(95 3/4 x 5 1/2 x 3/4 in)

104 x 43 cm (41 x 17 in)

Narra wood

240 x 12.5 x 12 cm (94 1/2 x 4 3/4 x 4 3/4 in)

PHP 40,000 - 60,000

PHP 90,000 - 120,000 Provenance : Bolah Tayaban (Mumbaki) A pair of tall Anthropomorphic figures, wood with encrustation. The decoration center of the King post that holds up the roof of a traditional Ifugao house (Bale). The two figures have a sooty patina.

10 6 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

L o t 13 9

A lot of T’boli women blouses, commercial cotton with cotton embroidery and glass beads 1st half 20th century 97.5 x 282.5 x 5 cm (38 1/2 x 111 1/4 x 2 in)

PHP 30,000 - 50,000

Lo t 14 0

Bagobo Blouse with mother pearl disk, glass beads and metal bells Late 19th century 97.5 x 282.5 x 5 cm (38 1/2 x 111 1/4 x 2 in)

PHP 50,000 - 80,000

Lo t 141

An Excavated Gold Headband 33.7 x 3.8 cm (13 1/4 x 1 1/2 h in)

PHP 75,000 - 80,000

10 8 I M P O RTA NT P HI LI P P I NE A RT

Lo t 142

Kulintang 20th century, Maranao, Lanao Del Sur, Western Mindanao Brass, wood rack 38 x 302 x 43 cm (15 x 119 x 17 in)

PHP 90,000 - 130,000

A set of eight graduated, well-tuned bronze gongs horizontally laid upon a wooden rack; it is the main melody instrument and is played by striking the bosses of the gongs with two wood playing sticks or beaters.

10 8 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

Lo t 14 3

A set of Maranao Metal Armour Late 19th- early 20th century, Maranao, Lanao Del Sur, Western Mindanao Brass shield, weapon, helmet, shoulder and knee pads. Moro mail and plate armor made of interlocking ringlets and brass plates Dimensions variable

PHP 150,000 - 200,000

Lo t 14 4

Hagabi c. 1900, Kiangan-Lagawe area, Southern Ifugao

This bench denoted the status of the upper class (Kadang- yan).

Narra wood with honey-colored patina

Carved out of a single piece of wood, the two stylized heads carved at

38 x 302 x 43 cm (15 x 119 x 17 in)

either end are called Ngiwit and represent the head of a pig.

PHP 160,000 - 200,000

110 INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART

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ADDENDUM Lot 59

Literature: JOYA, with a foreword by Francisco Arcellana (Manila: D. Baldovino Enterprises,1996) pp. 207-208

Lo t 57 A

L o t 64 A

LAO LIANBEN (B. 1948)

ONIB OLMEDO (1937-1996)

Substance

Untitled (Face)

2008

1981

Acrylic on canvas

Oil on canvas

183 x 137 cm (72 x 54 in)

76 x 76 cm (30 x 30 in)

PHP 4,500,000 - 5,000,000

PHP 650,000 – 700,000

Accompanied by a Certificate of Authenticity signed by the artist

Lo t 71A

EDUARDO CASTRILLO (1942–2016)

Lot 72A

Abstract

JUVENAL SANSÓ (B.1929)

2009

Resting in Solitude

Brass

c. 1970’s

33 x 48 x 33 cm

Acrylic on paper

(13 x 19 x 13 in)

42 x 25 cm (17 x 25 in)

PHP 180,000 - 200,000

PHP 70,000 – 80,000

Accompanied by a Certificate of Authenticity signed by Nixxio L. Castrillo

Accompanied by a Certificate of Authenticity issued by Fundacion Sansó

DJ INCLUDING IMPORTANT PHILIPPINE FURNITURE, TRIBAL & ETHNOGRAPHIC ART