{"status":true,"msg":{"data":{"id":1752,"auction_id":3,"set_id":4,"lot_number":"66","artist":"Vicente Manansala (1910 - 1981)","title":"Baguio Nose-Flute Players","starting_price":1200000,"signed_dated":"signed, inscribed Manila and dated 1945 (lower left)","medium":"oil on canvas","size":"20\" x 16\" (51 cm x 41 cm)","property":null,"coa":null,"provenance":"A gift from the Artist Vicente Manansala to Charles “Chuck” M. Dwelley,\nTorpedo Man, 3rd Class, while he served in Manila in 1945; and thence by descent.","exhibited":null,"literature":null,"write_up":"Charles “Chuck” M. Dwelley would have the extraordinary good fortune of meeting many of Manila’s artists, not just as a serviceman seeking souvenirs, but as a man who himself was interested in art, writing, and photography. Dwelley would run a small print shop of his own in the United States before the War and coming to the Pacific Theater, of which Manila was a major battleground.
\nThrough a chance encounter with the young Celso Al. Carunungan, the son of a printer himself, he would be introduced to a wide circle of Filipino artists. Many of these men had been displaced during the War — we know that Manansala himself was reduced to living in a makeshift hut in Reina Regente Street, eking out a living as Dwelley would recount, making pencil portraits for G.I.s.
\nThrough the letters of the navy man Dwelley to his family in October 1945, we accompany him on his journey in the making of he painting “Baguio Nose-Flute Players” as it would unfold. We learn how the idea for it began, the story behind it, and read an almost brush-stroke by brush- stroke account of Manansala’s process in its creation.
\nIndeed the work at hand is a sumptuous depiction of the Northern tribespeople : A young girl, crowned with white, virginal flowers plays the nose flute; her eyes are closed as she dreams perhaps a dream of love; two gold necklaces in the pre-colonial style of thick beads circle her neck. Manansala has himself described it as a scene with her two brothers, both wearing traditional skullcaps, and both equally transfixed by the music. A backdrop of angular mountains and a carabao skull suggest that this is somewhere in Baguio.
\n\nEqually important, it is an uplifting testament of a friendship built on art among the ruins of battle, symbolizing both men’s hopes for a new Philippines.
\n \nOCTOBER 10, 1945 \nThe Story Behind the Nose Flute : Courtship among the Igorots
\nDwelley would send a letter describing an artwork Manansala was painting, intended as his “calling card” when he was able to move to the United States. “Vic is now working on a painting of the nose-flute players of the mountains. Igorotes who play a strange flute, the wind being blown into it from the nostril instead of the mouth. The little story with the picture is that wooing by custom is done with the flute. Men learn to play as a matter of course and play for all sorts of affairs, but the girls have to learn if they wish to win a man. The man chooses the girl he desires and serenades her on his flute. When the two play together in perfect harmony, they are considered engaged and plans are made for the wedding. A girl who cannot play the flute is taking a chance of being an old- maid. So they allm learn to play.
\n“Vic’s picture is of a young girl, dressed only in a short loin cloth, practicing her flute with two of her brothers. The picture is only started but I can see it is going to be a beauty. He has the girl’s face and part of her body, all roughed in. The face is something I can’t quite describe. The master’s touch, I guess. So few strokes, yet it stands out as if in perfect detail. I can see why Vic won medals. Would love to have it for our library but I know he has other plans for it — including bringing it to the States as a sample of his work when he comes... He was terribly anxious to work on it all day today but had to stop again and again to do pencil portraits. He works better with an audience and had one every time he got to work on it — Kiko (Reyes) and I at least and usually many more. I am fascinated at how the thing seemed to come to life under his brush.”
\n\nOCTOBER 12, 1945 \nManansala’s Process and the Work’s Transformation
\n“Vic’s new painting of the nose-flute players was progressing so well he decided that I should take it (to) the States with me. I was thrilled beyond words. Then he began to make it “arty” looking and when I left today I was nearly sick from seeing it destroyed. It may be perfect when he finishes but it so warm and lovely as it was and now he has put in a cold background and instead of soft, smooth bodies, has decided on dash and color. So far he hasn’t touched the girl, who is the main figure, but I dread to look again for fear she will be changed, too. These artists! I couldn’t say a thing, of course, as it is to be a gift. Will try to stay away until it is finished and maybe it will be the “masterpiece” it first promised.
\nOCTOBER 18, 1945 \nManansala Declares “Baguio Nose-Flute Players” as One of His Best
\n“Vic has my oil painting done and as I expected, he put a few dabs of “dash” on the girl’s face and almost spoiled it. It’s very nice, tho, and you’ll love it. He says it is one of his best of that style —and he knows art.”
\n \nOCTOBER 19, 1945 \nThe Painting is Ready to Go to Its New Home
\n“I brought my “Bagio (sic) Nose-Flute Players” back to the barracks today and even the unartistic went nuts over it. It’s good — everyone recognizes that immediately. Am I proud to own it! The others are trying to top it so even if they can’t, the results should be something to see. And own...","lot_group":"PAINTING","lot_details_html":"
Vicente Manansala (1920 - 1981) Baguio Nose-Flute Players signed, inscribed Manila and dated 1945 (lower left) oil on canvas 20\" x 16\" (51 cm x 41 cm)