Kamagong Aparador I
And Kamagong Aparador II
2nd Quarter of the 19th century
“babaeng kamagong” hardwood
just about every:
76” x 48” x 20” (193 cm x 122 cm x 51 cm)
Opening bid: P 1,000,000
Provenance:
Romeo Jorge
An previous household of Santa Ana, Manila
Ton 17 of the Leon Gallery auction on 14 September 2019. Remember to see www.leon-gallery.com for additional specifics.
This splendid pair of Philippine cupboards in the late Neoclassical design and style are built of fantastically burled “babaeng kamagong” hardwood and are decidedly of German Biedermeier inspiration. Both equally aspect carved friezes of steady, upright acanthus leaves. Down below the friezes are inlays of traces and lozenges of “lanite” wooden. The doorways and sides of the cabinets are inlaid with stylized panels of “lanite” wood in the late Neoclassical design characteristic of Philippine situation household furniture from 1800 – 1850. All the inlays of “lanite” wooden are painstakingly crafted. The cabinets stand on conventional urn-formed ft. They come from the popular collection of the industrialist Romeo Jorge.
On buy by Romeo Jorge from antique vendor Gerardo Esposo in 1992, the interesting wood of the cabinets was determined with certainty as “babaeng kamagong” hardwood by the famous antique supplier and woodworker, “Manila’s romancer of wood” Osmundo Esguerra (coined by Ramon N. Villegas in 1990), acknowledged as “Omeng.”
These two impressive, matching cupboards of “kamagong” hardwood have been obtained individually by Romeo Jorge, not with each other as could be assumed. Intrepid antique vendor Gerardo Pagala Esposo (“Gerry”) discovered the first aparador in an outdated dwelling in Santa Ana, Manila in 1992 and bought it to Jorge. (A single will have to bear in mind that Santa Ana, Manila for the duration of the Spanish interval was a picturesque, riverside group with a lot of prosperous residents — Spaniards, mestizos, and Filipinos alike.) Seven months later, Esposo observed the matching 2nd, lesser aparador in one more aged household, however in Santa Ana, owned by a relative of the seller of the 1st aparador.
It turned evident that the two “his and hers” cupboards had originally been owned by the 1830s progenitors of the sellers’ households.
These gorgeous and exceedingly exceptional pair of “kamagong” cabinets had been proudly set up in Romeo Jorge’s living area, together with so numerous other Filipiniana treasures.
Romeo Jorge is an industrialist with a fortune centered in agribusiness. He started obtaining antique Filipino furnishings in 1982 and turned a significant collector of antique Filipino paintings, religious sculpture in wood and ivory, household furniture, and domestic items in 1986. He was supplied by the best antique sellers 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 country in research of the very best antiques. As a result of his wife Nini Santos-Jorge, a professor of new music at the College of the Philippines, he grew to become a munificent patron of the well-known Philippine Madrigal Singers of Dr Andrea Veneracion, web hosting fundraising receptions at his classy La Vista residence and bankrolling their trips to contests overseas.
The late 1970s to the 1980s were heady, stunning occasions for Filipino arts and antiques. A nicely-funded and very lively authorities place of work tasked to restore Intramuros (“Ciudad Murada”/The Walled Metropolis) as nicely as a few affluent folks have been fast paced building their collections — The Intramuros Administration represented by the Central Bank Governor Jaime C Laya, Esperanza Bunag-Gatbonton, and Martin Imperial Tinio Jr, notable Chinese-Filipino businessman Paulino Que, primary sugar govt Antonio Gutierrez, and the industrialist Romeo Jorge. (Also an active collector was the To start with Girl Imelda Romualdez-Marcos and her close circle of “Blue Ladies.”) Between helpful rivals Que, Gutierrez, and Jorge, it turned the custom to give stylish dinner get-togethers for their restricted circle of severe art and antique collectors on the arrivals of significant acquisitions. Individuals distinctive, intimate dinners of the Que, Gutierrez, and Jorge circle had been some of the most coveted invites of those years.
The “materialistic” 1980s had been punctuated by great, lavish exhibitions in major inns arranged by the top rated artwork and antique sellers. The exclusive opening evenings of this kind of situations discovered Manilas’ richest of the loaded jostling, from time to time arguing or even quarreling, for the selection art and antique finds of the night. Maximalism was the manner of the Marcosian 1980s, the richer you had been, the far more crowded with critical and hence high priced artwork and antiques your large dwelling was.
The opulent design and style was very best exemplified by the Italianate house on Vito Cruz avenue, Manila household lived in by the irrepressible, Europe-educated collector Dr Eleuterio Pascual (regarded as “Teyet”). The razzle-dazzle interiors had been 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 08:45:11
Tagged: , Philippines , Filipino , antique , antiques , auction , Makati , Manila , furniture , art , Cloma
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