{"status":true,"msg":{"data":{"id":61630,"auction_id":209,"set_id":242,"lot_number":"52","artist":"The Roxas Calvario","title":"last quarter of the nineteenth century (1875–1900) (Crucifixion scene with Jesus Christ, the Blessed Virgin Mary, Saint John the Evangelist, and Saint Mary Magdalene)","starting_price":1600000,"signed_dated":null,"medium":"Ivory, kamagong wood (“Diospyros discolor”/“Diospyros blancoi”), 14 K gold (or higher)","size":"with virina: <br>\nH: 28\" (71 cm) <br>\nL: 19 1/2\" (50 cm) <br>\nW: 12\" (30 cm) <br> <br>\nwithout virina: <br>\nH: 26 1/4\" (67 cm) <br>\nL: 19 1/2\" (50 cm) <br>\nW: 12\" (30 cm) <br> <br>\ncorpus: <br>\nH: 8 3/4\" (22 cm) <br>\nL: 5\" (13 cm) <br>\nW: 1 1/4\" (3 cm)","property":"PROPERTY FROM THE MA. CRISTINA O. ROXAS COLLECTION","coa":null,"provenance":"Binondo, Manila Ex Coll: the private collection of the famous art and antiques dealer +Maria Cristina Consing Ongpin–Roxas (“Tawalisi Art and Antiques”); it was kept in Mrs Roxas’ bedroom; acquired directly from an old Baliuag, Bulacan family","exhibited":null,"literature":null,"write_up":"The Doyenne’s Devotion An Intact 19th-C. Masterwork From the Kit Roxas Personal Collection <br> <br>by AUGUSTO MARCELINO REYES GONZALEZ III <br><br> This “Calvario” (Calvary) tableau depicts the passing of Jesus Christ on the Cross, accompanied by his mother the Blessed Virgin Mary, his best friend the apostle Saint John the Evangelist, and his great friend and ardent supporter Saint Mary Magdalene. It is a popular subject in Christian–Roman Catholic art. The “Cristo Expirante” (“Dying Christ” as opposed to “Cristo Moribundo,” “Dead Christ”) corpus of Jesus Christ is entirely in ivory, his “tapis”/perizoneum/loincloth of gold, the cross of kamagong wood (Diospyros discolor/Diospyros blancoi), the “rayos” cross rays of gold, the INRI sign of gold, and the polychromed silver leaf base of baticuling wood (“Litsea leytensis”). The three figures of Mary, John, and Mary Magdalene are dressed in velvet, silk, and satin richly embroidered with silvergilt threads. Mary’s vestments were originally a blue cape and gold tunic (traditionally a dark blue cape and white tunic, or a black cape and white tunic, or all–dark blue, or all–black), John’s a gold cape and red tunic (traditionally a green cape and red tunic), and Mary Magdalene’s a red cape and gold tunic (traditionally a yellow/ gold cape and red/purple tunic). Mary’s “rostrillo” (rays of light) as well as John’s and Mary Magdalene’s “paraguas” (halos) are in solid gold. There are the traditional sun and skull symbols. This Calvario tableau was most likely ordered at a famous taller/workshop in Binondo or Santa Cruz, Manila. And it was certainly expensive. <br> <br>In extremely pious and overly scrupulous nineteenth century Filipinas, however theologically erroneous, the mere possession of a religious image/icon was already a sure step towards Catholic salvation in the afterlife. The more religious images/icons acquired, the higher the tier of Catholic salvation. That is what the indios/Filipinos believed. Comical, but true. <br><br> Religious images were domestic must–haves in Roman Catholic, Spanish Filipinas. Every household had to have an image of the Crucifixion and the Blessed Virgin Mary on a simple “mesa altar” altar table in the one–room “bahay kubo.” Prayers were recited kneeling before these images three times a day: 6.00am, 12.00pm, and 6.00pm (El Angelus). Modest households had folk images of softwood crafted by the barrio carpenters, carvers, santeros. Richer households had small images of hardwood by the santeros, like those in the churches, as well as tabletop and processional “de vestir” ivory santos on elegant “mesas altares” altar tables in the “caida” entrance hall, in the “cuartos” bedrooms, and in “capilla”/”oratorio” private chapels. <br><br> There are very few documented, extant, antique Filipino “Calvario” ivory tableaux with 14 K or even 18 K solid gold accessories. One is with the Escudero–Adap family at the Villa Escudero in San Pablo city, Laguna: a heirloom from their landed Marasigan y Javier ancestors; originally in the capilla/oratorio of the Escudero y Marasigan “casa senorial” in the poblacion of San Pablo, burned during World War II; in the private collection of +Conrado Adap Escudero (“Ado”). A magnificent one is with the Syquia–Angco family in Vigan, Ilocos Sur; originally in the capilla/oratorio of their “Mansion Syquia” “dakkel a balay” ancestral house before the estate partitions. Another one is with the Donato–Crisologo family in Vigan, Ilocos Sur; originally in the capilla/oratorio of their “dakkel a balay” ancestral house before the estate partitions. There is one with the Rosario–Villanueva family in Vigan, Ilocos Sur; originally in the capilla/oratorio of their “dakkel a balay” ancestral house before the estate partitions. An interesting one from the early nineteenth century/early 1800s with polychromed “de tallado” (wholly carved) figures and extremely fine 18 K “sala–salamin” (“faux mirrorwork”) goldwork was sold off from an old family on Calle San Sebastian (R Hidalgo street), Quiapo in the mid–1990s (it could only have come from one of the Old Calle San Sebastian clans: Paterno, Zamora, Ocampo, Tuason, Legarda, Prieto, Valdes, Genato, Zaragoza, Roxas, Araneta, Velez y Infante, Preysler, Resurreccion–Hidalgo y Padilla, Bautista y Lintingco, Nakpil), then sold to a very private collection in Jaro, Iloilo. <br> <br>This one of Kit Ongpin–Roxas’ purchased directly from an old Baliuag, Bulacan family (it could only have come from one of the Old Baliuag clans: Rustia, Ponce, Gonzalez, Vergel de Dios, Cruz, Fores) is only the sixth one known to Manila art and antique circles. The capilla/oratorio in the 1840s Rustia ancestral house was famous, apart from its ancient image of the “Santo Entierro de Baliuag,” for its many beautiful ivory santos in virinas (glass cloches), several of which were placed on brackets attached to the pillars in the room, up to the estate partitions; the Rustia house also had several pieces of outstanding antique bone, lanite, and kamagong–inlaid Baliuag furniture up to the estate partitions. Doubtless there are more Calvario tableaux with solid gold accessories in private collections, but they are not known nor documented.","lot_group":"OBJET D' ARTS","lot_details_html":null,"alias":null,"hp":5500000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":5500000,"userBid":34,"isPaid":0,"userId":34,"lot_status":"SOLD","isDone":1,"bid_history_id":24932,"reserve_price":0,"hammer_price":6608800,"fav":0},"image":[{"id":68530,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/52.jpg","isFeatured":1},{"id":68900,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/52a.jpg","isFeatured":0},{"id":68899,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/52b.jpg","isFeatured":0},{"id":68898,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/52c.jpg","isFeatured":0},{"id":68897,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/209/242/lot/52d.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":51,"next":53,"count_bid":0,"bid_history":[],"tokenExpired":1}