Anastacio T. Caedo.... “ THE RISEN CHRIST ”

Anastacio T. Caedo.... “ THE RISEN CHRIST ”

also known as “ The Triune Christ:- The Risen Christ, The Sacred Heart and Macho Christo”

By Anastacio T Caedo [1907 – 1990]

marble cast.

75.5 cm high x 28 cm wide

Signed on the back, A T Caedo.

Significant note:- In 1966, this sculpture “THE RISEN CHRIST” won the Gold Medal at the Philippine Art Exposition.

Description.

The Sculptors depiction of the Risen Christ is quite wonderful, he has placed the Risen Christ on top of a cloud as it moves through the air and the Resurrected Christ is glowing with health and strength, radiant in His triumph over death.

 The Risen Christ is still wrapped in His prayer shawl but it is loose and he is free of its binding constrictions. The shawl no longer binds Him in death and now it is under his right foot, death is defeated and the shawl flows up the back of his left leg, wraps around his waist and continues up his back and flows out from His left shoulder up into the air waving in the breeze as the Risen Christ flies through the air.

 On the top and bottom edges of the shawl lines can clearly be seen across the folds. This would indicate that it is a prayer shawl, the folds on the bottom are quite exaggerated and the lines are clearly seen etched into the marble.

He is a smiling Christ looking down and forward.

 The face of the Christ is beautifully carved, the features are precise and distinct, his eyes are smiling and the very skilful technique of placing a dot of marble on the eye ball gives the eyes that wonderful life like quality.

The beard, eye brows and hair are carefully carved to show precise detail and the hair falls onto his shoulders and around the back of His neck.

As the Risen Christ smiles His teeth are revealed, His lips are full and His nose is strong and straight.

His ear lobes can be seen protruding from under his hair line.

His sacred heart can be seen on the outside of His chest.

 His torso is that of a strong well built man, full of health and vitality as we would imagine the Risen Christ to be after conquering death and sin, quite a magnificent looking man.

His legs and feet are bare and each foot has the nail holes in it , the evidence of His crucifixion.

Both hands are reaching forward as if to gather in humanity and on both wrists are the nail holes from His crucifixion.

The sculpture is signed on the back of the sculpture below His left foot. It is signed A.T. Caedo, it is not printed but signed as he would his signature.

Distinguishing marks,

On the left foot, the first and second toe are cut deeper at the toe nail than on the other toes.

The second finger on the left hand has a cut line across top of the finger at the first knuckle, not seen on the other fingers.

Interesting note, the nail holes on this Caedo sculpture are seen on the feet and on the wrists, but on his sculpture “ Pietra ” the nail holes are seen on the feet and the hands. It would be interesting to know why he used different two versions of the stigmata?

Writtern by,

 Mark E Shellshear.

Art Consultant.

markshellahear@gmail.com

Isabelo L. Tampinco...” NINO DURMIENDO”

Isabelo L. Tampinco. [1850 – 1933].

 Title ...” NINO DURMIENDO”

plaster cast.

Sculpture :- 27cm high x 22.5cm wide x 12.5cm deep.

Base :- 4.5cm x 19cm wide x 12.5cm deep.

Signed :- “I L T”

Description.

This sculpture is the original plaster cast, painted with a gold metallic paint.

This is a beautiful sculpture of Nino Durmiendo of a little boy seated on a rock and asleep leaning upon a pillar of stones.

The Nino is wearing a round neck cassock, long sleeved and down to his toes. It has a belt/tie around the waist.

His hair is very curly, but short enough to expose his ear on the left side of his face.

His eyes are closed.

His head is leaning upon his right forearm and his right hand and fingers are resting upon the rock ledge.

His left hand is in his lap and he is holding onto a garland of what looks to be plated or entwined vines.

Half the foot of the left leg can be seen under the folds of the garment and the toes of the right foot can be seen coming out from under the garment but on their side, he is very relaxed.

Tampinco's signature is on the right side, back of the sculpture, above the base line. It is signed with his three initials “I L T”.

There is no date recorded on the sculpture, but it is thought to have been sculpted in the first decade of the 20^th Century or just before the end of the 19^th Century.

 Distinguishing marks.

Chip in the base beneath the left toes of the sculpture.

Considering its age over 100years old it is in remarkably good condition.

There are no other distinguishing marks, other than those of age

The gold paint is worn off the sculpture but it can be clearly seen in the deep recesses of the sculpture. There is remnants of gold paint in the signature.

This is a very beautiful, peaceful sculpture nicely executed, the face of the child is quite beautiful and is true to its name.

niño m ‎(plural niños, feminine niña) boy, child

Durmiendo, Spanish for:- sleep, be in a state of sleep, fall asleep, slumber; enter into or be in a state that resembles sleep.

Isabelo Tampinco is one of the true Filipino masters, his sculptures are exceptional in composition and skill, he was the first of a line of great Philippine Classical Sculptors.

Written by,

Mark E Shellshear.

Art Consultant.

Quote from, www.wikipilipinas.org

Isabelo Tampinco (19 November 1850 – 30 January 1933).

A Chinese mestizo and a direct descendant of Rajah Lakandula, he was born in Binondo, Manila on 19 November 1850. He was the son of Tampinco y delos Reyes and Maria Justa de Lacandola. He apprenticed in the carving shops of Binondo and Santa Cruz districts. At age 15, he enrolled at the Academia de Dibujo y Pintura, Manila’s art academy, and studied sculpture under Agustin Saez and Lorenzo Rocha. He was hailed as one of the most outstanding sculptors of his time and was admired by Jose Rizal, who was his classmate in a modeling class at the Ateneo Municipal de Manila.

He was able to start his career in his 20s. His works dated as early as 1870. When Tampinco began his art, even while he was trained in school with a classical foundation, there was a revival of the gothic style in Europe. These styles became very evident in his design of churches, such as that of the fallen San Ignacio Church.

At age 26, he was chosen as the representative of the Philippines at the 1876 Philadelphia Centennial Exposition in the United States.

Receiving the “diploma de honor” from the Exposicion General de las Islas Filipinas in Madrid, Spain in 1887 was said to be his most important recognition.

When the Spaniards left and the American colonisers came, Tampinco enjoyed the newfound freedom as he was able to complete majority of his nude sculptures. Most of his works were either plaster of Paris or concrete.

Francesco Monti, “ GIRL WITH CORNUCOPIA FILLED WITH GRAPES “.

“ GIRL WITH CORNUCOPIA FILLED WITH GRAPES “.... original title unknown.

 By Francesco Monti. [1888 - 1958]

74 cm h x 29cm.

Signed at the back, top of base, F. R. MONTI.

                                                        1938

                                                     FILIPINAS

sculpture height 66 cm x 29 cm wide.

Base height 8 cm x 23 cm diameter.

Description.

This is beautiful Monti sculpture capturing the classical style for which he was so well known for here in the Philippines and Italy.

This classical maiden is standing with her weight on her right leg, with her left leg bent backwards, holding a cornucopia basket filled with grapes.

She has pleasant soft smile on her face as she looks to the right and down.

A lot of attention to detail has been paid to her hair, it is finely sculpted in a very distinct style. The hair has been rolled at the sides then swept under the scarf which covers the rest of her hair. Her hair can be seen hanging down onto her shoulders from under the scarf from the front view but no hair can be seen from the back view.

Her loose fitting top seems to be bunched up over her right shoulder and then it is caught by a strap above the left breast and then falls down again nearly to her waist on her left side. The strap over the left shoulder has fallen down off the shoulder onto the top of her arm and the strap is in two sections joined together by a button.

She has what seems to be a band around her waist and three layers can be seen. The band around her waist is only visible at the centre front of the garment.

The blouse balloons over the band in numerous folds.

The hem of the blouse is very short in the centre front and then drops down to her hips and hangs low around her body. It is a very full blouse and balloons at the hem which makes me think that it was made from two very fine pieces of fabric and stitched so it would balloon when it is draped. The full ballooned hem can be seen right around the sculpture.

The skirt is very long and full and falls right to the ground and is bunched up beside the right foot.

The skirt is split from the waist above the left thigh and is caught by two buttons below the fall of the blouse over the left hip and thigh.

 The split reveals the left leg which is bent forward as she rests it on some stones or rocks.

Her full weight is on her right leg and the skirt is draped around the right leg.

The left arm is completely uncovered except for the straps off the left shoulder, the left hand is placed on the left hip, all five fingers can be seen and the palm of her hand.

The right arm is also completely exposed and she is holding a cornucopia style of basket, that has ribbons or cord wrapped around the basket as if holding it together.

Her right arm is clutching the basket and her right hand and four fingers can be seen

In the basket is a bountiful harvest of grapes and leaves can be seen in the basket among the grapes from the back. The basket is extremely full and grapes can be seen under the right arm against the basket. The cornucopia basket full of grapes the sign of abundance and nourishment.

 The draping over the back of the left leg is very full and falls back in behind the leg and clings to the right leg.

The back view clearly shows the scarf falling from off her head and down her back to below her waist.

The fullness of the back of the blouse can be seen around the waist and around the hem of the blouse.

The skirt falls straight to the ground at the back.

 The left foot is completely exposed and the right foot can be seen protruding from under the skirt. 

  Interesting features.

- Signed... F.R.Monti

                   1938

               FILIPINAS

Signed on the top of the base at the back, below the hem of her skirt.

- The base has a 3mm pattern carved into it 5mm wide concave band, and bottom of the base is

3 mm wide.

- Under the base is clear of all markings.

- The basket, it is designed after the Cornucopia baskets, [ from the Latin cornu copiai ]

Horn of plenty, it is a symbol of abundance and nourishment.

Usually a woven wicker basket.

Written by,

Mark E Shellshear.

Art consultant.

markshellshear@gmail.com

FRANCISCO R. MONTI....... “ Girls with flowers “ ….. original title unknown.

FRANCISCO R. MONTI....... “ Girls with flowers “ ….. original title unknown.

FRANCISCO R. MONTI

Title ;- “ Girls with flowers “ ….. original title unknown.

64cm high x 25cm wide x 20cm deep

Sculpture:- 57.5cm high x 26cm wide x 23cm deep.

Base :- 23.5cm x 24.5cm x 6cm

Signed... F.R. MONTI

A young girl standing with a slightly bowed head and her eyes are closed.

Her hair is parted in the middle and is long and falling down over her shoulders and down her back, curls can be seen on her right shoulder and beneath her left ear.

Her dress falls from her left shoulder to her right waist line, there is no cover over her right shoulder, her arm or her right side chest.

There is a short sleeve on the left arm.

The dress is about knee length but the hem of the left side is raised to hold the flowers she has gathered into the dress. Her left hand is holding the hem of the dress and the dress seems to be bunched up in her hand as the fold of the material can be clearly seen between her thumb and first finger.

Her right hand is holding a flower, the petals and the leaves can be clearly seen.

There are a number of flowers held in the hem of her dress, three flower heads can be easily distinguished and many leaves can be seen.

Her legs are bare and she is wearing no shoes.

The base seems to represent a path or a rocky walk way as distinct lines can be seen cut into the base and over the side of the base down to the bottom of the base.

The area behind the girl is filled in and it does give the sense of a tree stump, especially from the back of the sculpture, but I am sure that it is there to strengthen the sculpture. At the back of the sculpture the base and the tree stump are one continuous piece.

 The sculpture is signed on the left side to the back of the sculpture, F. R. MONTI , there is no date or title recorded. 

 Distinguishing marks,

There are no distinguishing marks on the underside of the sculpture.

Written by,

Mark E Shellshear.

Art Consultant.

For private consultation please email me at,

markshellshear@gmail.com

ISABELO L. TAMPINCO...... “ LIBERTY”[ original title unknown]

ISABELO L. TAMPINCO...... “ LIBERTY”[ original title unknown]

 ISABELO L. TAMPINCO...... “ LIBERTY”[ original title unknown]

cast marble.

Sculpture 61.5cm high x 16 cm wide.

Base 20 cm diameter x 15mm high.

Signed “I L T”  [under the left hand on the wall at the back of the sculpture.]

Inscribed on the bottom of the Sculpture,

“ GRAN TALLER de ESCULTURA QUIAPO I.F. 1918.

Description.

This a beautifully sculptured piece by Tampinco, his mastery of the human form is in my opinion the standard set for all following sculptors that came after him. This sculpture is a fine example of his craftsmanship and able handling of the human anatomy.

From her stance and her holding of the lamp in her right hand, I believe that this Tampincos rendition is of Liberty otherwise known as Columbia.

Liberty has a soft serene look on her finely sculptured face, her head is turned to the right and she is looking off into the distance.

 Her hair is parted in the middle and swept back into two rolls on the top of her head behind a Tiara. The Tiara has a band of nine round stones across the front, two large stones at each end and the crown is set with one large stone with three stones on each side of it, three other small stones can be seen on the left side of the Tiara.
At the back of her head an indentation can be seen across the base of the head, suggesting a band coming from the Tiara to keep it in place and it is holding her hair down and the hair can be seen coming out from under the band and falling free.

She has two round earrings on the lobe of each ear.

 Her dress has a Princess line top, it has no sleeves and is caught up on each shoulder and falls like a cowl neck style across her front.

There is a band right around which can be clearly seen in the front and under the right side.

The band goes completely around the dress, signature of the Princess style, it is caught at the centre front by what seems to be a clasp or broach, there is one large stone set in it with two small stones beside it and one small stone above it.

The dress falls from the band around the chest down over another band/belt, this belt starts high on her left hip and then falls down onto her right thigh. This band is only visible over the right hip and stomach, in the centre of the band there seems to be medallion with three stones on it, they are quite faint.

There is a large stone on the right thigh where the dress splits right to the ground, showing the whole of her right leg and also the ankle and foot of her left leg.

She is not wearing any foot covering at all.

 The dress is dramatically draped all around her, at the back the draping is beautiful and especially dramatic draping over the right hip down to the floor. On the left front of the dress there is also heavy draping falling to the floor producing beautiful folds on the floor. The dress is beautifully draped around the belt/band revealing lovely folds all around the dress.

In her right hand Liberty is holding the torch, a simple design cone shape showing the flame at the top.

In her left hand she is holding a branch/spray of flowers that are hanging down from her hand along the wall at her back. The flowers are beautifully formed and look like large rose buds at the top of the spray.

From the back her five fingers on her right hand can be clearly seen holding the torch.

Her thumb and first finger can be seen holding the spray of flowers.

 She is standing with her back to the wall, it is ornately carved with an open mouthed Gargoyle at each end, the Gargoyles large bulbous foot, with four toes can be seen at the base of each end and the spur hook coming off each leg above the foot.

The Gargoyles wings are done like the leaves off an ornate tree.

The head of the Gargoyle has a cat like face, mouth open of coarse, especially on the right side of the wall where the features of the head are clearly distinguished and what looks like hair or a mane coming over its forehead and clearly seen falling down the back of the neck of the creature.

On both Gargoyles you can see five indents on the neck to give the creatures a reptilian look.

The center of the wall is relief carved and along the bottom of the wall is a rolled edge onto the walls base, with ten indents along it.

The inside of the wall is seen from the front, the Gargoyle is clearly seen on her right side and the inside is carved the same as the reverse.

 On the left side of the wall the Gargoyle is partly obscured by the spray of flowers.

She is standing on the top of the round flat base, it has a bevelled edge.

The base of the sculpture is in two parts. The sculpture has a base built into it, which she is standing on, the base is 8cm high made up of a flat top then moulded sides to the bottom of the base. The top base sits on a black stone base that is 20cm in diameter and 15mm high, it is also 15mm wider than the sculpture base.

On the front of the sculpture base is a relief carved motif with a cameo relief sculpture of a woman in the centre. She is set inside a circle of ten stones on each side of the portrait and it has highlight carving top and bottom. The sides of the medallion has a small Gargoyle head on the sides that flow into leaves.

The medallion motif is very impressive and does highlight the base.

Around the bottom tier of the base is written, “ GRAN TALLER DE ESCULTURA QUIAPO I.F. 1918 ”

Distinguishing marks.

+ The writing around the base.

+ It is signed “ I L T ” on the inside of the wall on her left.

 Comments
 

This truly a very beautiful Tampinco sculpture, it was very masterfully sculpted with great attention to detail without overdoing it.

I do especially like the cameo motif medallion on the front of the base and it would be interesting to know the woman who was depicted. Some have suggested the Queen of Spain but this was sculpted in the American period not the Spanish. As Tampinco was a classical sculptor and this Liberty is influenced from Roman classical sculpture Columbia, it is more likely to be Roman in origin.

This sculpture does seem to be a statement by Tampinco about freedom and liberty, before they were living under the rule of the Spanish and now under the rule of the Americans, the Statue of Liberty had been erected in New York [1886] as symbol of the freedom and democracy of the United States yet the Philippines had neither, maybe it was a protest or maybe it was just in recognition of the French sculpture of Liberty.

Tampinco is the great master of detail and this piece certainly displays his extraordinary talent and craftsmanship.

Written by,

Mark E Shellshear.

Art consultant

markshellshear@gmail.com