{"status":true,"msg":{"data":{"id":57473,"auction_id":116,"set_id":150,"lot_number":"50","artist":"Félix Resurrección Hidalgo (1855 - 1913)","title":"A Native House in a River Glade","starting_price":1600000,"signed_dated":"signed (verso)<br>dated and inscribed \"Mayo 1877\" (lower left)","medium":"oil on canvas","size":"19\" x 10 3/4\" (48 cm x 27 cm)","property":null,"coa":null,"provenance":"Private collection, Spain","exhibited":null,"literature":null,"write_up":"\"For our young painter, Felix Resurreccion Hidalgo, 1876 is obviously the watershed year that starts him off as an artist; for his particular generation of Filipinos, however, history had turned the corner to shape their destinies, four years earlier in 1872. It was the year of the Cavite Mutiny and its savage aftermath... that sowed the seeds for the ultimate and irreversible end to Spanish rule in the Philippines, twenty-four trouble-filled years later.” So wrote Resurreccion Hidalgo’s biographer, Alfredo Roces.<br><br>In truth, Felix Resurreccion Hidalgo had been “sucked into a vortex of anxiety and rumor-mongering” the year before, when a series of anonymous pamphlets critical of the friars was distributed in his law class at the University of Santo Tomas. It immediately sparked an investigation by the Spanish secret police. The young student was hauled into court where he was interrogated. Fortunately, due to his wealth and family connections, including an uncle in the Church, Resurreccion Hidalgo was found innocent and allowed to graduate.<br><br>It was enough, however, to convince his mother that he would be far better off in the less controversial role of an artist — rather than to become a practicing lawyer — and he was enrolled, to his extreme pleasure, in the Manila Academia in 1872.<br><br>“After four years of diligent study, Felix is confident he has mastered the basic skills, self-assured enough to exhibit the fruits of his labor at the Teatro Circo de Bilibid,” continued Roces. It is 1876, the same year as the magnificent “La Barca” and his international debut as a painter at the Universal Exposition in Philadelphia, USA in the same year. Similar works from that period confirm both the subject matter and style of that romantic Philippine era.<br><br>It is one of those clear, breathless summer days of May in 1877 — the perfect month to paint in the plein air. A dense grove of bamboo trees tumbles down a hillock, the golden vegetation shimmering in the heat. The sunlight outlines a rickety makeshift wharf ringed by ragged banana trees at river’s edge. A woman dressed in the farmer’s cotton of red, breaks the curtain of green. She balances a day’s washing on her hand; in one hand, she leads a naked child. man and his child wield the bow of a casco (flat-bottomed boat) that would ply the Pasig river. One can imagine the young Felix on the opposite bank on a painting expedition.<br><br>Over the next three years, he would begin to reap even more recognitions : First in 1877, as the true winner of the competition to design the cover for the monumental work “Flora de Filipinas”, captained by Fr. Manuel Blanco; (the Academia director inexplicably would win first prize even if he was member of the board of judges while Resurreccion Hidalgo would have to be satisfied with second place.) In 1879, he would land an even greater triumph : a scholarship to the Real Academia de las Bellas Artes de San Fernando in Madrid.<br><br>In less than a decade, Resurreccion Hidalgo would win his first international prize in the Madrid Exposition, alongside Juan Luna.<br><br>“A Native House in a River Glade” is a lyrical and rare work from Resurreccion Hidalgo’s Philippine Period, of which there are only 12 to 15 known to be extant.<br><br>The rare Philippine landscape at hand is an example of the delicate talent of Resurreccion Hidalgo as it captures a country scene at the river’s edge. It’s astonishingly dexterous, with such fine brushwork that nevertheless details a scene of unhurried bliss.<br><br>The flash of scarlet in the woman’s tapis is a reminder of the humble cloth that farmer’s families would wear. It draws the eye from the mist in the distance, down the golden slopes to the mother and child on washday.<br><br>“A Native House in a River Glade” is signed ‘Felix Resurreccion.’ His biographer Alfred Roces would note this was the distinctive signature he would use in his Philippine period, He would append the Hidalgo surname to his paintings in Europe, but at the Academia he carried the name ‘Resurreccion.’","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":5000000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":5000000,"userBid":null,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":6008000,"fav":0},"image":[{"id":61962,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/116/150/lot/50.jpg","isFeatured":1},{"id":62470,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/116/150/lot/50c.jpg","isFeatured":0},{"id":62469,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/116/150/lot/50b.jpg","isFeatured":0},{"id":62468,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/116/150/lot/50d.jpg","isFeatured":0},{"id":62467,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/116/150/lot/50a.jpg","isFeatured":0}]},"increment":[5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":49,"next":51,"count_bid":0,"bid_history":[],"tokenExpired":1}