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Sabungero (Cockfighter) - oil on canvas 16" x 24" by JBulaong 2013
#JBulaong #sabungero #cockfighter #oiloncanvas #painting
Mapa de las Yslas Philipinas
Pedro Murillo Velarde
1744
hand-colored copper engraving
20 1/2” x 13” (52 cm x 33 cm)
Opening bid: P 2,800,000
Literature:
Carlos Quirino, Philippine Cartography
1320-1899, FilipinianaClásica, third edition with
an introduction by Leovino Ma. Garcia (Quezon
City: Vibal Foundation, 2010, pp. 67, 128.
Leovino Ma. Garcia, “Mapping the
Manila-Acapulco Trade,” in Kabarkadáhan,
La Ruta del Galeón Manila – Acapulco:
Anggaleong nag-uugnaysa Manila at Acapulco
(Pasay City: UNESCO Commission of the
Philippines: 2016), pp. 2-17,
Lot 60 of the Leon Gallery auction on 18 February 2017. Please see www.leon-gallery.com for more details.
The most coveted map today, after Pedro Murillo Velarde’s 1734 map Carta Hydrographica y Chorographica de las Yslas Filipinas (which was auctioned off for twelve million pesos at Sotheby’s in November 2014) by lovers of maps is undoubtedly this 1744 edition by the erudite Spanish Jesuit.
In this version also engraved by the “Indio de Tagalog”Nicolas de la Cruz de Bagay, we see St. Francis Xavier approaching the island of Mindanao, bolstering the 18th century fond belief that the “Apostle of the Indies” set foot there. St. Francis Xavier is holding a crucifix with the Jesuit flag attached to it. He is riding in a raft protected by cherubims. In his book Philippine Cartography, the National Artist for Historical Literature Carlos Quirino wrote: “Legend had it that St. Francis had lost the crucifix during a storm in the Moluccas. Twenty-four hours later, while walking on the sandy beach, a giant crab emerged from the sea carrying aloft the cross to return it to the Jesuit missionary.” A legend to explain the existence of large crabs marked with a cross on their backs in Cagayan de Oro? That may be.
This charming map shows the disputed island “Panacot” (also called Scarborough Shoal or Bajo de Masinloc). In the medallion at the top, one recognizes a tindera (market vendor), an Aeta, a Muslim, an Igorot, a Sangleyand, a sabungero stroking his rooster.
A Chinese junk and a Spanish galleon remind us that the Philippines after 1565 became “a vital crossroads” because it was Spain’s springboard to China, Japan, the Spice Islands, and other Southeast Asian countries. Manila was not only the terminus of the Pacific trade route but also the launching pad between the west coast of the Americas and the east coast of South Asia. The Manila-Acapulco Galleon Trade, which lasted for two and a half centuries from 1565 to 1815, contributed to the discovery of the existence of many different worlds, which led to the paradoxical awareness of a single global world.
Ang sabong ay isang uri ng madugong paglalaban o "madugong palaro" sa pagitan ng dalawang tandang na pansabong, na isinasagawa sa loob ng isang bilog na pook pangtunggalian o sabungan, na tinagurian ding simburyo. Natatangi ang pagpapalaki, pangangalaga, at pagsasanay na ginagawa para sa mga manok na pansabong upang magkaroon ito ng sapat o higit pang resistensiya at lakas sa oras ng sagupaan. Karaniwang ginugupit ang mga palong ng mga lalaking manok na inihahanda sa pagsasabong. Mayroong likas na galit ang mga tandang laban sa kapwa tandang. Katulad ng mga atleta o mga tao na manlalarong pampalakasan, kinukundisyon din ang mga manok na panlaban, bago maganap ang labanan. Mayroong mga samahan ng mga aktibistang may malasakit sa mga hayop ang laban sa pagkakaroon ng mga sabong sapagkat madugo ito at dahil sa pagkakabugbog na tinatanggap ng katawan ng mga ibong nabanggit. Sa Pilipinas, itinuturing itong isang "pambansang palaro" o palabas, mayroong mga ayon sa batas at mayroon ding mga ilegal, at kinasasangkutan ng mga pustahan at pagsusugal. Sapagkat pinuputol o pinupulpol ang mga likas na tahid ng mga tandang na panabong, kinakabitan ng mga metal na tahid na may mga talim ang mga paa ng manok na ilalaban. Ginagamit lamang ang guwantes na panabong para sa pagsasanay ng mga tandang. May dalawang uri ng mga talim na ginagamit sa pagsasabong, yaong may isahang talim at yung may dalawahang talim. Ikinakabit ang mga talim sa kaliwang binti ng manok, subalit sang-ayon din ito sa kasunduan ng mga may-ari ng mga manok. Maaari ring ilagay ang mga talim sa kanang binti o maging sa dalawang binti ng paa ng mga manok. Tinatawag na tupada ang ilegal na sabong. Kapwa may tagapamagitan ang mga ito, ang tinatawag na sentensyador, na may pagpapasyang hindi mababali o hindi mababago ninuman. Tinatawag na magsasabong o sabungero ang taong mahilig sa sabong.
Itinatawag ngayon ang pintakási sa pagdaraos ng espesyal na pasabong kung Linggo o may kapistahan. Naiiba ito sa karaniwang pasabong dahil maaaring magtagal nang tatlong araw.
Ngunit iba ang sinaunang kahulugan ng pintakási. May haka nga na mula ito sa pinaghugpong na “pinipintuhò” at “kinakási” dahil malapit sa dalawang naturang salitâ ang orihinal na kahulugan. Sa isang matandang bokabularyo, nakalista ito at may kahulugang “procurador, intercesor, abogado.” Sa maikling salitâ, tagapamagitan o hingian ng tulong. Sa sinaunang lipunan, ang pintakási ang maharlika na nagbibigay ng tulong at malasákit sa nagigipit na tauhan o miyembro ng barangay. Tinatawag ding poón ang naturang hingian ng tulong, gaya ng pangyayaring tinatawag na “poón” ng alipin ang kaniyang panginoong maharlika.
Sa panahon ng kolonyalismo, isinalin ang tungkuling ito sa patrong santo o santa ng relihiyong Kristiyano. Pati ang titulong poón ay isinalin sa mga patron. Bawat bayan ay may hinihirang na patron. Halimbawa, itinakdang patron ng buong Filipinas si San Miguel. Tungkulin ng bayan na ipagdiwang ang araw na itinakdang kapistahan ng kanilang patron. Sa gayon, ang “pamimintakási” ay pagsamba at pagpaparangal sa isang patron. Ginagamit din ito ng mga makata upang magpugay sa kanilang musa o minamahal. Nakatutuwa na idinadaan ang gayong pagsamba ng mga sabungero sa pamamagitan ng pagsusugal. (EGN) (ed VSA)
Ang sabong ay isang uri ng madugong paglalaban o "madugong palaro" sa pagitan ng dalawang tandang na pansabong, na isinasagawa sa loob ng isang bilog na pook pangtunggalian o sabungan, na tinagurian ding simburyo. Natatangi ang pagpapalaki, pangangalaga, at pagsasanay na ginagawa para sa mga manok na pansabong upang magkaroon ito ng sapat o higit pang resistensiya at lakas sa oras ng sagupaan. Karaniwang ginugupit ang mga palong ng mga lalaking manok na inihahanda sa pagsasabong. Mayroong likas na galit ang mga tandang laban sa kapwa tandang. Katulad ng mga atleta o mga tao na manlalarong pampalakasan, kinukundisyon din ang mga manok na panlaban, bago maganap ang labanan. Mayroong mga samahan ng mga aktibistang may malasakit sa mga hayop ang laban sa pagkakaroon ng mga sabong sapagkat madugo ito at dahil sa pagkakabugbog na tinatanggap ng katawan ng mga ibong nabanggit. Sa Pilipinas, itinuturing itong isang "pambansang palaro" o palabas, mayroong mga ayon sa batas at mayroon ding mga ilegal, at kinasasangkutan ng mga pustahan at pagsusugal. Sapagkat pinuputol o pinupulpol ang mga likas na tahid ng mga tandang na panabong, kinakabitan ng mga metal na tahid na may mga talim ang mga paa ng manok na ilalaban. Ginagamit lamang ang guwantes na panabong para sa pagsasanay ng mga tandang. May dalawang uri ng mga talim na ginagamit sa pagsasabong, yaong may isahang talim at yung may dalawahang talim. Ikinakabit ang mga talim sa kaliwang binti ng manok, subalit sang-ayon din ito sa kasunduan ng mga may-ari ng mga manok. Maaari ring ilagay ang mga talim sa kanang binti o maging sa dalawang binti ng paa ng mga manok. Tinatawag na tupada ang ilegal na sabong. Kapwa may tagapamagitan ang mga ito, ang tinatawag na sentensyador, na may pagpapasyang hindi mababali o hindi mababago ninuman. Tinatawag na magsasabong o sabungero ang taong mahilig sa sabong.
Ang sabong ay isang uri ng madugong paglalaban o "madugong palaro" sa pagitan ng dalawang tandang na pansabong, na isinasagawa sa loob ng isang bilog na pook pangtunggalian o sabungan, na tinagurian ding simburyo. Natatangi ang pagpapalaki, pangangalaga, at pagsasanay na ginagawa para sa mga manok na pansabong upang magkaroon ito ng sapat o higit pang resistensiya at lakas sa oras ng sagupaan. Karaniwang ginugupit ang mga palong ng mga lalaking manok na inihahanda sa pagsasabong. Mayroong likas na galit ang mga tandang laban sa kapwa tandang. Katulad ng mga atleta o mga tao na manlalarong pampalakasan, kinukundisyon din ang mga manok na panlaban, bago maganap ang labanan. Mayroong mga samahan ng mga aktibistang may malasakit sa mga hayop ang laban sa pagkakaroon ng mga sabong sapagkat madugo ito at dahil sa pagkakabugbog na tinatanggap ng katawan ng mga ibong nabanggit. Sa Pilipinas, itinuturing itong isang "pambansang palaro" o palabas, mayroong mga ayon sa batas at mayroon ding mga ilegal, at kinasasangkutan ng mga pustahan at pagsusugal. Sapagkat pinuputol o pinupulpol ang mga likas na tahid ng mga tandang na panabong, kinakabitan ng mga metal na tahid na may mga talim ang mga paa ng manok na ilalaban. Ginagamit lamang ang guwantes na panabong para sa pagsasanay ng mga tandang. May dalawang uri ng mga talim na ginagamit sa pagsasabong, yaong may isahang talim at yung may dalawahang talim. Ikinakabit ang mga talim sa kaliwang binti ng manok, subalit sang-ayon din ito sa kasunduan ng mga may-ari ng mga manok. Maaari ring ilagay ang mga talim sa kanang binti o maging sa dalawang binti ng paa ng mga manok. Tinatawag na tupada ang ilegal na sabong. Kapwa may tagapamagitan ang mga ito, ang tinatawag na sentensyador, na may pagpapasyang hindi mababali o hindi mababago ninuman. Tinatawag na magsasabong o sabungero ang taong mahilig sa sabong.
Fernando Amorsolo (1892-1972)
Sabungero
signed and dated 1929 (lower left)
oil on wood
24” x 30” (61 cm x 76 cm)
Opening bid: P 6,000,000
Leon Gallery wishes to thank Mrs. Sylvia Amorsolo-Lazo for confirming the authenticity of this lot
Provenance:
Private Collection, USA;
Acquired from the above by the present owner
Lot 126 of the Leon Gallery auction on 14 September 2019. Please see www.leon-gallery.com for more details.
Amorsolo idealized the peasant, whom he situated in a rural idyll
where nature was ever bountiful and hunger and strife were
unknown.
He used natural light in his paintings even as early as the 1920s.
This painting is dated 1929. In typical Amorsolo fashion, the
figure of a man taking care of his rooster is outlined against a
characteristic glow, and the subdued orange sunlight hitting the
earth highlights the nearby details, especially the green grass.
The man may be under the shade of a tree or the shadows of a
nipa hut. Says Alfredo Roces in his book, Amorsolo (1975): “More
accurately, it was the shadow areas he painted with a richness
of color that previous artists had simply obscured with dark
scrumble.”
Amorsolo’s optimistic, pastoral images set the tone for Philippine
painting before World War II. Except for his darker World War
II-era paintings, Amorsolo painted quiet and peaceful scenes
throughout his career. He was the first to extensively portray
traditional Filipino customs and manners, fiestas and occupations like fishing, planting, going to market, washing laundry, cooking and reading.
Fernando Amorsolo (1892 - 1972) - Sabungero
Provenance: Private Collection, USA
It was painted for my Great Grandmother “Maria Dolores Reyes”, (her married name, Mrs Clyde Eyes, is written on back of painting) who were close family friends of the Zobels. Her father was “Francisco Reyes y Mijares”( first president of the chamber of commerce). My own mother and grandparents being interned at Santo Tomas. The painting was left to her daughter Dolores Yuille-Thorton and then to me up on her death. - Constance Preston
signed and dated Manila 1936 (lower right)
oil on wood
15 1/2" x 19 1/2" (39 cm x 50 cm)
Opening bid: PHP 3,000,000
Lot 53 of the Leon Gallery auction on December 3, 2022. For more information, please see leonexchange.com/en/auctions and leon-gallery.com/auctions/The-Kingly-Treasures-Auction-2022
Fernando Amorsolo (1892 - 1972) - Sabungero
Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot
Provenance:
Acquired directly from the artist, given as a gift to Col. Charles Jacques, on the staff of Gen. Douglas MacArthur, when the American military liberated the Philippine Islands from Japanese Occupation; and from thence by descent to the present owner.
signed and dated 1914 (lower left)
oil on canvas
18" x 22" (46 cm x 56 cm)
Opening bid: PHP 8,000,000
Lot 94 of the Leon Gallery auction on 11 June 2022. Please see leonexchange.com/en/auctions and leon-gallery.com for more information.
Photography by Tootoots Leyesa.
Sabungero Chubby Ching.
tootoots@gmail.com
+63 920 9329960
+63 917 5543122
To bet in cockfighting is a national past time,.Even boys as young as 7 or 8 years old can be seen holding fighting cocks probably for their elders. Rich and poor, young and old-that's what they do-and they are proud to be called sabungeros!
Behind the scenes photos of Music Score sessions for the film Sabungero.
Sound Weavers Recording Studio's original score.
Behind the scenes photos of Musical Score of the the movie Sabungero (cockfighting).
Sound Weavers Recording Studio's original score
Behind the scenes photos of Musical Score of the the Movie Sabungero.
Sound Weavers Recording Studio's original score
Filipinos are true-blooded "sabungeros". Their penchant for the sport is undeniably so popular in the country that it hosts so many derbies.
Fernando Amorsolo (1892 - 1972)
Sabungero
signed and dated 1951 (lower left)
oil on canvas
18 1/4" x 22 1/4" (46 cm x 57 cm)
Opening bid: PHP 3,200,000
Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot
Provenance: Private collection, Edward J. Nell, USA
ABOUT THE WORK
One can argue that the illustrious life and career of Fernando Amorsolo is highly intertwined with that of the pre-war Philippines. Meek and mild-mannered, it is hard to believe that Amorsolo led an artistic movement that became the standard that many generations of artists hold themselves to, either to uphold or dismantle. By the 1950s, the Amorsolo School had weathered the constant pushback of Philippine modernism. The classical realism of Amorsolo has been tempered by the horrors of the war – the idyllic pasture of the Philippine countryside no longer becomes appealing to many of the newer artists who have witnessed the war’s atrocities. It is dated, they said, given the current climate. But Amorsolo persevered. With the exception of his darker World War II-era paintings, he went straight back to capturing the pastoral Philippines in his famed Amorsolo light. His usual muses found themselves back onto his canvases – his dalagas bathed in the golden yellow sunlight, his vendors back to selling their wares. An intense sense of nostalgia penetrates his post-war works, made heavier by the knowledge that the Philippines underwent such atrocities in the war, a fact Amorsolo became intimately familiar with as he saw firsthand the Battle of Manila. His 1951 Sabungero shows no sign of the war period angst that enveloped Amorsolo’s 1940s pieces. Here, he focused on a specific rural aspect of the Philippines: cockfighting. Cockfights are major social functions in the barrios of the Philippines, going far back to pre-colonial Philippines when Antonio Pigafetta recorded it during Magellan’s 1521 expedition. The first wave of Filipinos arriving in Hawaii brought cockfighting into the foreign land, so beloved was this sport for the Filipinos. Amorsolo’s Sabungero depicts the titular sabungero (or the cockfight bettors) holding his best rooster. He seems to be inspecting the animal, checking for injuries or defects that might hinder him during the upcoming fight. Cockfighting is emblematic of the quintessential Filipino traits. It is a social event, a gathering recognized and awaited by most. When the roosters meet, it becomes a battle not just between the animals themselves but the bettors who had gambled their hard-earned money on their favored competitor. The Filipino pride and ego are on the line fuelled even further by the adrenaline of the brutal fight. However, in his Sabungero, Amorsolo depicts not the deadly fight but the tranquil start of it. Gone are the frantic movements of the roosters that many artists choose to focus on; instead, Amorsolo portrays the quiet and loving relationship of the farmer and his fowl. For Filipino sabungeros, their roosters are much more than fighting machines – they are part of the family, as beloved as their children. These animals are well taken care of and Amorsola perfectly encapsulates that on his canvas. There is no denying Amorsolo’s longevity in Philippine art history. His works evoke the ordinary and daily life of the rural Philippines, suffused in his trademark light. His impact was cemented even further when he was posthumously conferred the National Artist Award in 1972, the distinction’s first awardee. (Hannah Valiente)
Lot 32 of the Leon Gallery Auction on 8 June 2024. Please see leon-gallery.com and leonexchange.com for more information and to place an online bid.
Fernando Amorsolo (1892 - 1972)
Sabungeros
signed and dated 1967 (lower left)
oil on canvas
16” x 20” (40 cm x 51 cm)
Opening bid: P 2,000,000
Property from the collection of a very distinguished family.
Fernando Amorsolo is arguably the face of the
Philippine art scene. Despite the longevity and the
myriad of talents the scene has to offer, Amorsolo is
the first to come to mind when asked to name a Filipino
visual artist. For many, the best Philippine art has to
offer includes Amorsolo’s dalagas, his lavanderas, and
the scenic Philippine countryside that he lovingly depicts
canvas after canvas.
Amorsolo’s scenic vignettes of provincial life remain one
of the most iconic genres of paintings even outside of
Amorsolo’s oeuvre. The painter of the Philippine sunlight
has managed to “capture on canvas the vibrant tropical
Philippine sunlight” as art historian Eric Torres says in
100 Years of Philippine Paintings. The vivid rays wash his
works in warmth, a glow that captivated many national and
international patrons alike.
His 1967 Sabungeros features this characteristic yellow
shine. Depicting a group of men as they huddle around the
sabungeros mentioned above, Amorsolo sets a scene that
is both captivating and heartwarming. The men around the
sabungeros range from different ages but they listen intently
as the sabungeros converse. From one generation to the
next, the knowledge of cockfighting is being passed down.
The Philippines has a long history of cockfighting. First
recorded by Antonio Pigafetta during Magellan’s expedition
in 1521, cockfights served as a major social function in the
barrios of the Philippines, actualizing the Filipino pride and
ego as bettors put their money behind their favored fighter.
However, here, Amorsolo shows a side other than the
adrenaline-fuelled fight many might associate with
cockfighting. We see not the fight itself but the lull between
them as the fighters meet not as opponents but as mentors
to the next generation of sabungeros. Here, Amorsolo
emphasizes the community the cockfights produce and its
role as a social activity which many young men get into as
a rite of passage for adulthood.
Amid the usual bloody image procured by cockfighting,
Amorsolo draws attention to the softer, more intimate
side of it. He suffuses this intimate image with his notable
Amorsolo sunlight, washing the scene in warmth.
“There is always something beautiful in all things around
us and nature. So why not recreate God’s creation through
[my] canvas?” His daughter Sylvia Amorsolo-Lazo recalls her father saying. Indeed, as he portrays the bucolic Philippine countryside with the utmost admiration, there is a palpable affection that bled into his body of works. This reverence for the pastoral beauty makes Amorsolo one of the most, if not the most, recognizable artists in Philippine art history. (Hannah Valiente)
Lot 121 of the Leon Gallery live and online auction on 14 September 2024. Please see leon-gallery.com and leonexchange.com for more information and to place an online bid.
Anita Magsaysay-Ho (1914 - 2012)
Sabungero
signed (lower left)
ca. 1945 - 1946
oil on canvas
15" x 10 3/4" (38 cm x 27.5 cm)
Opening bid: PHP 7,000,000
Property from the Jesus And Maritess Pineda Collection
Literature: Roces, Alfredo. Anita Magsaysay-Ho: In Praise of Women (With Annotations on Paintings by Anita Magsaysay-Ho).
Pasig City: The Crucible Workshop, 2005. Full-color illustration and painting description on page 281.
ABOUT THE WORK
Anita Magsaysay-Ho (May 25, 1914 - May 5, 2012) was— and is—a pre-eminent figure in the world of Filipino modern art. She was also the only female member of the Thirteen Moderns, a group of Filipino avant-garde artists. She was born in 1914 in Manila. Her father Ambrosio Magsaysay, an engineer, was Philippine President Ramon Magsaysay’s uncle. Anita was painting from the age of nine. She studied at the School of Fine Arts of the University of the Philippines, under the tutelage of Filipino master painters Fabian de la Rosa, and his nephews Fernando and Pablo Amorsolo, as well as Ireneo Miranda and Vicente Rivera y Mir. She studied at Manila’s School of Design, under Victorio Edades and Enrique Ruiz. She then left in the 1930s to go to the United States, where she studied at the New York Students’ League under Kenneth Hayes Miller, Will Barnet and Robert Ward Johnson. She also studied at Cranbrook Academy of Art in Michigan, under Zoltan Sepeshy. She moved to New York City, where she gave painting and drawing lessons. There, she met Robert Ho from Hong Kong. They married and moved to China, where Ho’s shipping company, Magsaysay Inc., began. The couple eventually had five children and they moved frequently because of Ho’s work. They lived in Brazil, Canada, Hong Kong and Japan. Wherever she lived, Anita had a studio where she could paint. Although she was eventually identified as one of the Thirteen Moderns, in the early 1940s, the influence of her teacher Fernando Amorsolo was still clearly visible, both in terms of subject and technique. Later, her work evolved toward modernism. In the work at hand, Anita masterfully captures the roughness and vigor associated with the famed sabungero, whose pastime was, and remains to be, a ubiquitous sight in virtually every corner of the country. It is an Amorsolo subject, but treated so differently. The brushstrokes are strong, the colors are deftly applied. The technique is brute, but the charm of the sabungero and the implied rural scene comes across. Critic E. Aguilar Cruz included her among the Neo-Realists, which later evolved into the Philippine Art Gallery group, which also numbered other women artists, Lyd Arguilla and Nena Saguil. Through the 1950s, she consistently won top awards from the Art Association of the Philippines. Her compositions emphasized movement and bustling interaction by means of bold, vigorous brushstrokes, and strong tonal contrasts of light and dark, particularly when she was using egg tempera. Magsaysay-Ho’s most famous works are those identified with the everyday lives of Filipino women, who characteristically wore scarves, had slanted eyes, in angular poses. In her old age, she could not work with oils anymore, the fumes overcame her. She continued to paint until her 2009 stroke. She died three years later, just three weeks before her 98th birthday. Her paintings continue to command the highest prices for works by a Filipino artist. This painting is important because it shows Anita Magsaysay’s style in transition. (From the Ramon Villegas Archives)
Lot 72 of the Leon Gallery live and online auction on 14 September 2024. Please see leon-gallery.com and leonexchange.com for more information and to place an online bid.
1. El Sabungero, 2. B-24 Liberator {heavy bomber}, 3. Orchid, 4. Kalachuchi? {Temple Flower}, 5. P-40 Warhawk {fighter aircraft}, 6. Blue (Eagle) and Red (Horse), 7. FBI, 8. Frustration {emo with a smile}, 9. Wedding: Mike and Sol, 10. PBY Catalina {flying boat patrol bomber}, 11. Agila sa Wild Life, 12. Agila sa Wild Life, 13. No Overtaking
Oil on canvass
part of the "sabungero" series
This painting was inspired by the "sabungeros" of a barrio in Angeles,Pampanga where weekends are spent going to "tupadas" to watch fighting cocks.