{"status":true,"msg":{"data":{"id":39013,"auction_id":55,"set_id":83,"lot_number":"153","artist":"Calvary Tableau With Gold Ornaments In A Virina","title":"Mid-19th Century","starting_price":1000000,"signed_dated":null,"medium":"Baticuling, Ivory, Gold, Gold Leaf, Human Hair and Glass","size":"H:29” x L:23” x W:17” (74 cm x 58 cm x 43 cm)","property":null,"coa":null,"provenance":"Ilocos, probably from Vigan","exhibited":null,"literature":null,"write_up":"After the opening of the Suez Canal in 1869 glass domes containing flower bouquets in porcelain vases were imported from France and were used as table decorations in affluent homes. Eventually, santeros, the craftsmen who made santos, had the bright idea of using the glass domes, locally called virinas, to encase santos, especially ivory ones or those dressed in gold-embroidered vestments. The hermetically sealed domes prevented the air from tarnishing the gold embroidery and the gilding of the bases. Sometimes, the figures were de tallada, or carved in the round of wood, with ivory faces and hands. In such instances, the sculptured bodies and vestments of the images were gilded and painted in polychrome.\n\nCalvary scenes almost always contained an image of the crucified Christ, the Sorrowful Mother or Dolorosa, St. John the Evangelist and Mary Magdalene. The last is usually portrayed in a kneeling posture embracing the cross. This particular Calvario, or Calvary tableau, has an ivory Cristo nailed to a kamagong cross with a line-inlay border of ivory and standing on a simulated wooden mount painted in polychrome. The ivory image of the Christ is somewhat naïve in form, which shows that the carver was a provincial one. On the left of the cross is the figure of the Sorrowful Mother, while St. John, the Evangelist and Mary Magdalene are on the right. All the images have ivory heads and hands that are beautifully carved and attached to sculptured wooden bodies. The figures of Mary Magdalene and St. John wear wigs of human hair. All the tunics and capes of the images visible from the front are entirely covered with gold leaf, decorated in the estofado technique with leaves and flowers painted over the gold in polychrome. The undersides of the vestments are painted in a contrasting red.\n\nThe back of the cape of the Dolorosa, since it is not visible from the front, was painted a dark blue and decorated with large flowers in white. The style of the painting lacks the sophistication and detail of that done by Manila artists, another indication that the artist was a provincial one.\n\nThe 18-karat goldsmith’s work on this Calvario is unusual and different from those usually used in typical Calvary scenes. They are inspired by designs usually found in Ilocano filigree or tamburin jewelry typical of the early 19th century. The golden nails attaching the body to the cross are in the form of a gold rosette set with what a faux emerald in a claw setting. Covering the loins of the corpus is a golden perizonium or tapis in the form of an apron with a graceful scroll at the top of the right him from which emanate four flaring flaps with rounded bottoms forming a stylized knot. The top of the tapis is decorated with scallops, while the bottom is edged with a border of tiny bosses edged with a pierced design of swags edged with scallops. The perizonium is embossed with a small flower flanked by chased leaf scrolls on a chased diaper pattern so typical of the late 18th century. At the bottom of the small flower is embossed a very large inverted bloom with five petals. Each flap of the stylized knot at the right hip is embossed and chased with a foliate scroll and ornamented at the edges with a scallop border. Attached to the ends of the arms and top of the cross are golden terminals or cantoneras that are made up of a pair of quadrants to which is attached an embossed, chased and pierced golden plaque decorated with a heart-shaped central motif flanked by symmetrical scrolls of foliate scrolls and flowers of a rococo pattern. Beneath the central cantonera is an oval INRI sign in gold, also embossed and chased with similar foliate and foliar scrollwork designs like the cantoneras.\n\nThe whole tableau is encased in a virina on a carved wooden base with two registers of carved friezes separated by a molding. The designs of the carved friezes are almost identical, with the lower one of larger dimensions than the one above. They are composed of leaves interspersed with a single flower and were originally gilded and painted in polychrome. The passage of time and exposure to dust has tarnished the gold leaf and the colors of the base, to the extent that it looks entirely covered with grime.\n\n-Martin I. Tinio, Jr.","lot_group":"OBJET D' ARTS","lot_details_html":"<p><strong>Calvary Tableau With Gold</strong> <br /><em>Ornaments In A Virina</em><br />Mid-19th Century<br />Baticuling, Ivory, Gold, Gold Leaf, Human Hair and Glass<br />H:29&rdquo; x L:23&rdquo; x W:17&rdquo; (74 cm x 58 cm x 43 cm)</p>","alias":null,"hp":0,"bp":0.168,"isWithdrawn":0,"accounting_hp":0,"userBid":null,"isPaid":0,"userId":22,"lot_status":"UNSOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":0,"fav":0},"image":[{"id":37416,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/55/83/lot/153.jpg","isFeatured":1}]},"increment":[900000,1000000,1100000,1200000,1300000,1400000,1500000,1600000,1700000,1800000,1900000,2000000,2200000,2400000,2600000,2800000,3000000,3200000,3400000,3600000,3800000,4000000,4200000,4400000,4600000,4800000,5000000,5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":152,"next":154,"count_bid":0,"bid_history":[],"tokenExpired":1}