Kamagong Aparador I
And Kamagong Aparador II
2nd Quarter of the 19th century
“babaeng kamagong” hardwood
each individual:
76” x 48” x 20” (193 cm x 122 cm x 51 cm)
Opening bid: P 1,000,000
Provenance:
Romeo Jorge
An aged household of Santa Ana, Manila
Whole lot 17 of the Leon Gallery auction on 14 September 2019. Be sure to see www.leon-gallery.com for far more information.
This splendid pair of Philippine cupboards in the late Neoclassical model are produced of superbly burled “babaeng kamagong” hardwood and are decidedly of German Biedermeier inspiration. Each characteristic carved friezes of constant, upright acanthus leaves. Underneath the friezes are inlays of strains and lozenges of “lanite” wooden. The doorways and sides of the cabinets are inlaid with stylized panels of “lanite” wood in the late Neoclassical style characteristic of Philippine circumstance household furniture from 1800 – 1850. All the inlays of “lanite” wood are painstakingly crafted. The cupboards stand on standard urn-formed ft. They come from the famous assortment of the industrialist Romeo Jorge.
On invest in by Romeo Jorge from antique supplier Gerardo Esposo in 1992, the fascinating wood of the cupboards was determined with certainty as “babaeng kamagong” hardwood by the legendary antique supplier and woodworker, “Manila’s romancer of wood” Osmundo Esguerra (coined by Ramon N. Villegas in 1990), regarded as “Omeng.”
These two remarkable, matching cupboards of “kamagong” hardwood had been acquired individually by Romeo Jorge, not jointly as could be assumed. Intrepid antique seller Gerardo Pagala Esposo (“Gerry”) uncovered the initial aparador in an old home in Santa Ana, Manila in 1992 and marketed it to Jorge. (Just one ought to try to remember that Santa Ana, Manila for the duration of the Spanish period was a picturesque, riverside community with quite a few wealthy citizens — Spaniards, mestizos, and Filipinos alike.) 7 months later on, Esposo discovered the matching next, more compact aparador in one more aged household, even now in Santa Ana, owned by a relative of the vendor of the very first aparador.
It grew to become evident that the two “his and hers” cupboards experienced at first been owned by the 1830s progenitors of the sellers’ families.
These wonderful and exceedingly rare pair of “kamagong” cupboards were proudly installed in Romeo Jorge’s dwelling room, together with so quite a few other Filipiniana treasures.
Romeo Jorge is an industrialist with a fortune based mostly in agribusiness. He begun paying for antique Filipino household furniture in 1982 and turned a serious collector of antique Filipino paintings, religious sculpture in wood and ivory, home furniture, and home items in 1986. He was equipped by the most effective antique dealers of the time — Romeo Bauzon, Terry Baylosis, Antonio Martino, Jean-Louis Levi and Willie Versoza, Viring de Asis, Osmundo Esguerra, Ramon N Villegas, Maria Cristina Ongpin-Roxas, Gerardo Esposo, Liza Ramos Rama-Esposo, Roberto Antonio, et al. Jorge generously funded expeditions by antique dealers to the farthest corners of the nation in research of the finest antiques. Via his wife Nini Santos-Jorge, a professor of new music at the College of the Philippines, he turned a munificent patron of the well-known Philippine Madrigal Singers of Dr Andrea Veneracion, hosting fundraising receptions at his classy La Vista residence and bankrolling their outings to contests abroad.
The late 1970s to the 1980s have been heady, dazzling periods for Filipino arts and antiques. A very well-funded and quite lively govt workplace tasked to restore Intramuros (“Ciudad Murada”/The Walled City) as very well as 3 affluent people today had been chaotic making their collections — The Intramuros Administration represented by the Central Financial institution Governor Jaime C Laya, Esperanza Bunag-Gatbonton, and Martin Imperial Tinio Jr, popular Chinese-Filipino businessman Paulino Que, leading sugar govt Antonio Gutierrez, and the industrialist Romeo Jorge. (Also an energetic collector was the To start with Lady Imelda Romualdez-Marcos and her close circle of “Blue Women.”) Between pleasant rivals Que, Gutierrez, and Jorge, it turned the personalized to give sophisticated meal functions for their restricted circle of significant artwork and antique collectors upon the arrivals of essential acquisitions. Those exceptional, intimate dinners of the Que, Gutierrez, and Jorge circle ended up some of the most coveted invites of individuals several years.
The “materialistic” 1980s were punctuated by fantastic, lavish exhibitions in major accommodations arranged by the best art and antique dealers. The exclusive opening nights of these kinds of functions discovered Manilas’ richest of the prosperous jostling, at times arguing or even quarreling, for the preference artwork and antique finds of the evening. Maximalism was the manner of the Marcosian 1980s, the richer you were being, the more crowded with crucial and thus highly-priced artwork and antiques your large residence was.
The opulent fashion was finest exemplified by the Italianate residence on Vito Cruz street, Manila household lived in by the irrepressible, Europe-educated collector Dr Eleuterio Pascual (known as “Teyet”). The razzle-dazzle interiors have been a “Beaux-Arts” or “fin-de-siecle” jumble with swathes of Marchesa Luisa Casati eccentricity that amazed the Marcos political bigwigs and new and aged Manila society.
-Augusto Marcelino Reyes Gonzalez III
Posted by Leo Cloma on 2019-08-30 08:45:10
Tagged: , Philippines , Filipino , antique , antiques , auction , Makati , Manila , home furnishings , artwork , Cloma
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