Kamagong Aparador I
And Kamagong Aparador II
2nd Quarter of the 19th century
“babaeng kamagong” hardwood
every:
76” x 48” x 20” (193 cm x 122 cm x 51 cm)
Opening bid: P 1,000,000
Provenance:
Romeo Jorge
An outdated family of Santa Ana, Manila
Whole lot 17 of the Leon Gallery auction on 14 September 2019. Remember to see www.leon-gallery.com for much more information.
This splendid pair of Philippine cupboards in the late Neoclassical design and style are made of fantastically burled “babaeng kamagong” hardwood and are decidedly of German Biedermeier inspiration. Both equally attribute carved friezes of continual, upright acanthus leaves. Beneath the friezes are inlays of strains and lozenges of “lanite” wooden. The doors and sides of the cupboards are inlaid with stylized panels of “lanite” wooden in the late Neoclassical design characteristic of Philippine circumstance home furnishings from 1800 – 1850. All the inlays of “lanite” wood are painstakingly crafted. The cabinets stand on conventional urn-formed feet. They appear from the renowned selection of the industrialist Romeo Jorge.
On invest in by Romeo Jorge from antique vendor Gerardo Esposo in 1992, the fascinating wooden of the cabinets was discovered with certainty as “babaeng kamagong” hardwood by the legendary antique dealer and woodworker, “Manila’s romancer of wood” Osmundo Esguerra (coined by Ramon N. Villegas in 1990), regarded as “Omeng.”
These two extraordinary, matching cabinets of “kamagong” hardwood were being obtained independently by Romeo Jorge, not collectively as could be assumed. Intrepid antique seller Gerardo Pagala Esposo (“Gerry”) observed the very first aparador in an old residence in Santa Ana, Manila in 1992 and marketed it to Jorge. (A person have to try to remember that Santa Ana, Manila throughout the Spanish time period was a picturesque, riverside community with numerous prosperous citizens — Spaniards, mestizos, and Filipinos alike.) Seven months later, Esposo found the matching 2nd, lesser aparador in another previous dwelling, still in Santa Ana, owned by a relative of the seller of the initial aparador.
It became evident that the two “his and hers” cabinets experienced at first been owned by the 1830s progenitors of the sellers’ households.
These beautiful and exceedingly exceptional pair of “kamagong” cupboards were proudly put in in Romeo Jorge’s living room, along with so many other Filipiniana treasures.
Romeo Jorge is an industrialist with a fortune primarily based in agribusiness. He begun acquiring antique Filipino home furnishings in 1982 and became a critical collector of antique Filipino paintings, spiritual sculpture in wooden and ivory, furnishings, and home goods in 1986. He was provided by the greatest 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 region in search of the best antiques. Via his spouse Nini Santos-Jorge, a professor of audio at the University of the Philippines, he turned a munificent patron of the well-known Philippine Madrigal Singers of Dr Andrea Veneracion, internet hosting fundraising receptions at his classy La Vista residence and bankrolling their trips to contests overseas.
The late 1970s to the 1980s had been heady, stunning moments for Filipino arts and antiques. A properly-funded and very energetic federal government office tasked to restore Intramuros (“Ciudad Murada”/The Walled Town) as properly as three affluent people today had been fast paced creating their collections — The Intramuros Administration represented by the Central Lender Governor Jaime C Laya, Esperanza Bunag-Gatbonton, and Martin Imperial Tinio Jr, prominent Chinese-Filipino businessman Paulino Que, foremost sugar government Antonio Gutierrez, and the industrialist Romeo Jorge. (Also an energetic collector was the To start with Lady Imelda Romualdez-Marcos and her shut circle of “Blue Girls.”) Between friendly rivals Que, Gutierrez, and Jorge, it turned the customized to give exquisite dinner functions for their limited circle of significant artwork and antique collectors upon the arrivals of essential acquisitions. People exceptional, intimate dinners of the Que, Gutierrez, and Jorge circle had been some of the most coveted invitations of people a long time.
The “materialistic” 1980s were punctuated by fantastic, lavish exhibitions in main resorts organized by the best artwork and antique dealers. The special opening evenings of such functions observed Manilas’ richest of the prosperous jostling, occasionally arguing or even quarreling, for the preference art and antique finds of the night. Maximalism was the trend of the Marcosian 1980s, the richer you have been, the extra crowded with significant and consequently highly-priced artwork and antiques your significant residence was.
The opulent type was very best exemplified by the Italianate household on Vito Cruz avenue, Manila residence lived in by the irrepressible, Europe-educated collector Dr Eleuterio Pascual (identified as “Teyet”). The razzle-dazzle interiors were being a “Beaux-Arts” or “fin-de-siecle” jumble with swathes of Marchesa Luisa Casati eccentricity that impressed the Marcos political bigwigs and new and old Manila culture.
-Augusto Marcelino Reyes Gonzalez III
Posted by Leo Cloma on 2019-08-30 08:45:09
Tagged: , Philippines , Filipino , antique , antiques , auction , Makati , Manila , furniture , artwork , Cloma
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