Calvary Tableau -- Detail
A magnificent ivory Calvary tableau in a kamagong urna
Estimate: PHP 2,800,000 - 3,500,000
3rd quarter, 19th century
Manila
Ivory, kamagong, 24k gold-filled silver, gilding, gold leaf, glass and other accoutrements
145 x 77 x 37 cm (57 x 30 x 15 in) / 33 cm (13 in) / 32 cm (13 in) / 23 cm (9 in) / 32 cm (13 in)
Lot 452 of the Salcedo Auctions auction on 21 September 2019. Please see salcedoauctions.com for more details.
Calvary is mentioned in the Bible as a hill, the place of the skull, Golgotha. Artists throughout history have strived to depict Jesus’ Crucifixion on Calvary in an attempt to bring to life one of the most famous moments in the Bible. Calvary scenes have appeared in cave art in Mona Island off the coast of Puerto Rico; in mosaic in the 4th century Church of the Holy Sepulchre in Jerusalem; in many paintings of Brueghel, Rubens, Delacroix, et al.; in relleves or wood relief carved by early Christians in the Philippines; and in many other forms and mediums. In Spanish-era Philippines, the most affluent families would commission a tableau using very expensive ivory for the images, and then enshrine them in an elaborate wooden niche or urna placed on top of the home altar for veneration.
In this magnificent Calvary tableau, the Expirante Corpus or Expiring Christ in solid ivory, is captured in his last breaths, his head bowed in near collapse and face in dignified agony, his muscles tensed, and fingers twitching with varying degrees of flexion failure. His bleeding wounds incite pity and humility. St. John the Evangelist, Mother Mary and Mary Magdalene are below the Cross, their faces in deep anguish. Their heads and hands are in ivory. All the ivory pieces have remained white, having been kept perpetually in glass. The Cross is in kamagong with lanite border inlays. The Cross mound and parts of the floor are blanketed with iridescent green wings and black bodies of salaguinto or green scarab jewel beetles found in the vast rice fields of central Luzon. The scarabs, the family to which the salaguinto beetle belongs, were revered by ancient Egyptians as a symbol of the Resurrection and the enduring human soul. The accoutrements on the figures, Cross, mound, and loin cover are 24k gold-filled silver painstakingly etched in early ysot technique. The lustrous glass backdrop is gilt in gold to simulate richly decorated brocade fabrics. Other smaller figures, vegetation, animals and objects in blown glass and shells surround the protagonists, and interestingly, there’s a glass fish pond in front. The huge Neoclassical-style urna is made from highly prized kamagong wood with a sunburst topper centring a round rosette finished in gold leaf. The lavish use of gold color makes this richly decorated tableau shine gloriously despite the somber subject. Very well-thought composition and masterfully executed.
The tableau was brought from Manila to Iloilo by the Apilañes family, owner of La Editorial Press, who lived in a house in Calle Sto. Rosario, which at the end of the 19th century became known as a residential area for upper class families. After the Second World War, the house – together with this Calvary tableau – was bought by Francisca Guidato Maravilla. Calle Rosario is one of the oldest and most historical avenues in the city of Iloilo, and has the most number of preserved heritage buildings in the whole province.
Provenance: Mrs. Francisca Guidato Maravilla of Calle Santo Rosario, Iloilo City
Calvary Tableau -- Detail
A magnificent ivory Calvary tableau in a kamagong urna
Estimate: PHP 2,800,000 - 3,500,000
3rd quarter, 19th century
Manila
Ivory, kamagong, 24k gold-filled silver, gilding, gold leaf, glass and other accoutrements
145 x 77 x 37 cm (57 x 30 x 15 in) / 33 cm (13 in) / 32 cm (13 in) / 23 cm (9 in) / 32 cm (13 in)
Lot 452 of the Salcedo Auctions auction on 21 September 2019. Please see salcedoauctions.com for more details.
Calvary is mentioned in the Bible as a hill, the place of the skull, Golgotha. Artists throughout history have strived to depict Jesus’ Crucifixion on Calvary in an attempt to bring to life one of the most famous moments in the Bible. Calvary scenes have appeared in cave art in Mona Island off the coast of Puerto Rico; in mosaic in the 4th century Church of the Holy Sepulchre in Jerusalem; in many paintings of Brueghel, Rubens, Delacroix, et al.; in relleves or wood relief carved by early Christians in the Philippines; and in many other forms and mediums. In Spanish-era Philippines, the most affluent families would commission a tableau using very expensive ivory for the images, and then enshrine them in an elaborate wooden niche or urna placed on top of the home altar for veneration.
In this magnificent Calvary tableau, the Expirante Corpus or Expiring Christ in solid ivory, is captured in his last breaths, his head bowed in near collapse and face in dignified agony, his muscles tensed, and fingers twitching with varying degrees of flexion failure. His bleeding wounds incite pity and humility. St. John the Evangelist, Mother Mary and Mary Magdalene are below the Cross, their faces in deep anguish. Their heads and hands are in ivory. All the ivory pieces have remained white, having been kept perpetually in glass. The Cross is in kamagong with lanite border inlays. The Cross mound and parts of the floor are blanketed with iridescent green wings and black bodies of salaguinto or green scarab jewel beetles found in the vast rice fields of central Luzon. The scarabs, the family to which the salaguinto beetle belongs, were revered by ancient Egyptians as a symbol of the Resurrection and the enduring human soul. The accoutrements on the figures, Cross, mound, and loin cover are 24k gold-filled silver painstakingly etched in early ysot technique. The lustrous glass backdrop is gilt in gold to simulate richly decorated brocade fabrics. Other smaller figures, vegetation, animals and objects in blown glass and shells surround the protagonists, and interestingly, there’s a glass fish pond in front. The huge Neoclassical-style urna is made from highly prized kamagong wood with a sunburst topper centring a round rosette finished in gold leaf. The lavish use of gold color makes this richly decorated tableau shine gloriously despite the somber subject. Very well-thought composition and masterfully executed.
The tableau was brought from Manila to Iloilo by the Apilañes family, owner of La Editorial Press, who lived in a house in Calle Sto. Rosario, which at the end of the 19th century became known as a residential area for upper class families. After the Second World War, the house – together with this Calvary tableau – was bought by Francisca Guidato Maravilla. Calle Rosario is one of the oldest and most historical avenues in the city of Iloilo, and has the most number of preserved heritage buildings in the whole province.
Provenance: Mrs. Francisca Guidato Maravilla of Calle Santo Rosario, Iloilo City