Antique Gold Tamburin Necklace
Antique Gold Tamburin Necklace
The large “tamborin” necklace of gold is emblematic of the Filipino Gilded Age (1870–1898). Featuring a big “relicario” pendant with an outer frame of raised bowknot/butterfly and stylized floral and foliar motifs in brilliant gravure, an inner frame of layered and woven filigree strands, and the casing containing a bouquet of filigree flowers and leaves inside thin glass panels; a big “mariposa” connector with raised bowknot/butterfly, floral, and foliar motifs in brilliant gravure; and a long chain of various gold beads mainly of the “florecitas”/“sinampaguita” type but also the “balimbing”/“pinya” and the “granada” types.
The eight “Ama” (“Our Father”) beads are of the large and ornate “florecitas”/“sinampaguita” type with encrustations, one of the four main types of gold beads used for “rosario” necklaces --- 1) “florecitas”/“sinampaguita”, variations from 1300–1950; 2) plain spherical with “tumpal” granulation, variations from 1300–1680; 3) “balimbing”/“pinya”, variations from 1300–1880; 4) “granada” (pomegranate), variations from 1780–1880. The smaller beads are also variants of the florecitas/sinampaguita, balimbing/pinya, and granada types through the centuries, underscoring the traditionalism of the “rosario.” As it is already from the turn of the twentieth century, the tamborin necklace is connected by gold links and not strung in the more traditional red cotton yarn. The workmanship of the “relicario” pendant, “mariposa,” and various beads include most of the 9 basic techniques enumerated and described by the legendary Ramon N Villegas (“Kayamanan: The Philippine Jewelry Tradition,” 1983): 1) Filigree and Granulation; 2) Chasing and Repousse; 3) Die–Stamping; 4) Engraving; 5) “Sala–Salamin” Technique/Mirror–Gold Inlay; 6) “Opus Interrasile” (Chased Openwork); 7) Soldering; 8) Gilding; 9) “Kalawanging–Ginto.”
The original nineteenth-century term for a “tamborin” necklace in Filipinas was “rosario,” from the Dominican rosary where the basic necklace design of a big bead (“Ama” meaning Father) interspersed with 10 smaller beads was taken. Similar antique gold, silver, but mostly silver-gilt necklaces can still be found in rural Spain and Portugal, albeit bigger, worn in astonishing layers by the women during big fiestas/festivals in the cities and towns. As for the origins of the oval (tambourine–shaped) pendant or “relicario” worn from a double–link chain around the neck, Filipiniana scholar Ramon Villegas noted that its origins were actually Russian Orthodox and not Roman Catholic as commonly thought. Cultural exchanges: It was entirely possible as the international ports of Cadiz in Espana, Acapulco in Mexico, and Manila in Filipinas through the centuries were always busy entrepots teeming with foreigners arriving for business opportunities and leaving with fortunes, big and small. The traditional goldsmithing centers of Las Islas Filipinas until 1898 (the end of the Spanish colonial period) were the “arrabales” (districts) of Binondo and Santa Cruz in Manila; Malolos, Baliuag, San Miguel de Mayumo, and Meycauayan towns in Bulacan; Mexico, Guagua, San Fernando, and Bacolor towns in Pampanga; Vigan, Bantay, and San Vicente towns in Ilocos Sur; Laoag and San Nicolas towns in Ilocos Norte; Tuguegarao town in Cagayan; Lipa town in Batangas; Molo town in Iloilo.
Opening bid: US$ 2,000
Lot 17 of the Leon Gallery Museo Pambata Benefit Online Auction on October 15, 2023. Please see leonexchange.com for more details.
Antique Gold Tamburin Necklace
Antique Gold Tamburin Necklace
The large “tamborin” necklace of gold is emblematic of the Filipino Gilded Age (1870–1898). Featuring a big “relicario” pendant with an outer frame of raised bowknot/butterfly and stylized floral and foliar motifs in brilliant gravure, an inner frame of layered and woven filigree strands, and the casing containing a bouquet of filigree flowers and leaves inside thin glass panels; a big “mariposa” connector with raised bowknot/butterfly, floral, and foliar motifs in brilliant gravure; and a long chain of various gold beads mainly of the “florecitas”/“sinampaguita” type but also the “balimbing”/“pinya” and the “granada” types.
The eight “Ama” (“Our Father”) beads are of the large and ornate “florecitas”/“sinampaguita” type with encrustations, one of the four main types of gold beads used for “rosario” necklaces --- 1) “florecitas”/“sinampaguita”, variations from 1300–1950; 2) plain spherical with “tumpal” granulation, variations from 1300–1680; 3) “balimbing”/“pinya”, variations from 1300–1880; 4) “granada” (pomegranate), variations from 1780–1880. The smaller beads are also variants of the florecitas/sinampaguita, balimbing/pinya, and granada types through the centuries, underscoring the traditionalism of the “rosario.” As it is already from the turn of the twentieth century, the tamborin necklace is connected by gold links and not strung in the more traditional red cotton yarn. The workmanship of the “relicario” pendant, “mariposa,” and various beads include most of the 9 basic techniques enumerated and described by the legendary Ramon N Villegas (“Kayamanan: The Philippine Jewelry Tradition,” 1983): 1) Filigree and Granulation; 2) Chasing and Repousse; 3) Die–Stamping; 4) Engraving; 5) “Sala–Salamin” Technique/Mirror–Gold Inlay; 6) “Opus Interrasile” (Chased Openwork); 7) Soldering; 8) Gilding; 9) “Kalawanging–Ginto.”
The original nineteenth-century term for a “tamborin” necklace in Filipinas was “rosario,” from the Dominican rosary where the basic necklace design of a big bead (“Ama” meaning Father) interspersed with 10 smaller beads was taken. Similar antique gold, silver, but mostly silver-gilt necklaces can still be found in rural Spain and Portugal, albeit bigger, worn in astonishing layers by the women during big fiestas/festivals in the cities and towns. As for the origins of the oval (tambourine–shaped) pendant or “relicario” worn from a double–link chain around the neck, Filipiniana scholar Ramon Villegas noted that its origins were actually Russian Orthodox and not Roman Catholic as commonly thought. Cultural exchanges: It was entirely possible as the international ports of Cadiz in Espana, Acapulco in Mexico, and Manila in Filipinas through the centuries were always busy entrepots teeming with foreigners arriving for business opportunities and leaving with fortunes, big and small. The traditional goldsmithing centers of Las Islas Filipinas until 1898 (the end of the Spanish colonial period) were the “arrabales” (districts) of Binondo and Santa Cruz in Manila; Malolos, Baliuag, San Miguel de Mayumo, and Meycauayan towns in Bulacan; Mexico, Guagua, San Fernando, and Bacolor towns in Pampanga; Vigan, Bantay, and San Vicente towns in Ilocos Sur; Laoag and San Nicolas towns in Ilocos Norte; Tuguegarao town in Cagayan; Lipa town in Batangas; Molo town in Iloilo.
Opening bid: US$ 2,000
Lot 17 of the Leon Gallery Museo Pambata Benefit Online Auction on October 15, 2023. Please see leonexchange.com for more details.