{"status":true,"msg":{"data":{"id":40486,"auction_id":64,"set_id":92,"lot_number":"142","artist":"Jorge Pineda (1879-1946)","title":"Sungkaan","starting_price":800000,"signed_dated":"signed and dated 1924 (lower right)","medium":"oil on canvas","size":"26” x 20” (66 cm x 51 cm)","property":null,"coa":"Accompanied by a letter issued by Mr. Jose Pineda, eldest grandchild of the artist, confirming the authenticity of the lot.","provenance":null,"exhibited":null,"literature":"CCP Encyclopedia FILIPINO HERITAGE, Vol. 9 (Manila: Lahing Filipino Publications, Inc. 1978, pages 2428-2433) Archipelago- August 1975 issue","write_up":"Sungkaan exists in three versions: a version painted in 1933 is at the Bangko Sentral ng Pilipinas Collection; another, from 1942, is with the Jorge Vargas collection; and this work, being the earliest, from 1924.\n \nAlice Guillermo describes Sungkaan in the CCP Encyclopedia: “This is a painting by turn of the century master Pineda, also an outstanding illustrator of his time.  The style of Sungkaan reveals his training at the Academia de Dibujo y Pintura which stressed the modeling of the figure in light and dark.  Skilled in anatomical rendering, Pineda was a realist who did not idealize his  figures.  Of the early genre artists, he was also the first to choose indigenous games for subject.\nIn this work, two elderly figures in light native dress, possibly husband and wife, are shown playing sungka, an indoor Asian game played alternately on a sungkaan- a wooden device with seven hollows on each side, and two larger hollows on both ends where one winner [is determined by] amassing the greater number.  While the subject in itself is simple, the work was not meant to be only an illustration of the game, but a fully accomplished painting.  The two players are seated facing each other by the large capiz window which provides light and ventilation to the room.  It is the old woman‘s turn, her eyes focused on the game, both show an intense absorption.  The light falls on her fully visible face, while the man’s profile is in backlighting.  Tonal  contrast is brought out between the bright outdoors with plants in the sunlight, and the shadowy indoors.  It was Pineda’s  interest in genre to portray a mood of concentration, suggesting the spirit within, rather than the figures in action.”\n \nThe magisterial hardbound book series FILIPINO HERITAGE, Vol. 9 (Manila: Lahing Filipino Publications, Inc. 1978, pages  2428-2433) describes Jorge Pineda and his masterpiece “Sungkaan” (1924): “A contemporary of Fernando Amorsolo, Jorge Pineda was one of the last sensitive masters of the (countryside) genre…  He also became interested in magazine illustration and pursued this proclivity while working in the lithography house of Carmelo and Bauermann.  His pen and ink drawings for El Rinascimento were indicative enough of his artistic skills, but it was in his works in oil that showed his mettle in capturing the local milieu, and his dramatic control of light and shadows.  In “Playing Sungka” (63.5 cm x 48.2 cm), he used the dingy browns of the old realistic school, and applied them with enlightened bravura to vivify the textures of objects found in the composition – on the clay jar, on the homespun clothes, on the wooden fence, on the batalan, and even on a mango seen hanging from the house window.”\n \nJorge Pineda used to tell the younger dandies who took up art studies for dilettantish reasons at Teodoro Buenaventura’s school at Trozo, Manila: “I will live by art and make it pay.” To make art pay, he applied his indefatigable energies to illustrations for a number of periodicals: Rinascimento Filipino, Philippine Magazine, and the Philippine free Press.\nAs with many of the artists who flourished in what has now become customary to call the Golden Age of Illustration (circa  1890-1920), this freshness sprang from informal contact with those homebound genre and scenographic painters who had  been evolving their won manner of setting down textures and rhythms of life observed around them.\nUnlike his older contemporary, Don Fabian de la Rosa, who cast a melancholic eye on life, Pineda had a warmer, sanguine  disposition.  The older master’s heavy brushwork was not for him, as he preferred a lighter touch for his more casual  subjects- pedestrians, peasants, housemaids, cooks and chewers of nga-nga (betel nut).  At the St Louis Exposition of 1904,  while still a “student,” his “Buyo Chewers” (“Buyoeras”) won a bronze medal.","lot_group":"PAINTING","lot_details_html":"<p><strong>Jorge Pineda</strong> (1879 - 1946)<br /><em>Sungkaan</em><br />signed and dated 1924 (lower right)<br />oil on canvas<br />26&rdquo; x 20&rdquo; (66 cm x 51 cm)</p>","alias":null,"hp":6000000,"bp":0.168,"isWithdrawn":0,"accounting_hp":6000000,"userBid":null,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":7008000,"fav":0},"image":[{"id":39566,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/64/92/lot/142.jpg","isFeatured":1}]},"increment":[5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":141,"next":143,"count_bid":0,"bid_history":[],"tokenExpired":1}