Isabelo L. Tampinco, “ Woman with a Dove.”

“ Woman with a Dove.”

Isabelo L. Tampinco [ 1850 – 1933 ]

cast marble.

64cm high x 18cm wide x 17cm deep.

Signed “ ILT” 1886.

This beautiful sculpture by Tampinco follows in the French tradition of sculpting girls holding a dove. It certainly is an interesting rendition of this subject.

In the French sculpture from the 18^th century, the woman is only wearing a skirt but in Tampinco's version she is fully clothed, though her clothing at the front is loose and exposing her undergarments. For Tampinco's time it would have been very provocative and raised some eyebrows among the establishment.

Tampincos version has the girl holding the large dove out in front of her, in both hands.

Her eyes are closed as if in ecstasy holding the large bird.

She has a bonnet on her head covering her wavy hair.

The clothing she is wearing is a long skirt and an off the shoulder top, the front of the top falls open exposing her undergarments and the top is caught around the waist and the skirt is split down the front, both bare feet are exposed.

The bottom edge of the skirt is frilled and is heavily draped, it is cut high at the front and falls long at the back.

Everything about this pose and the clothing is very provocative from the high cut front of the skirt to the off the shoulder top fallen open at the front.

From the back view you the ribbon tied onto the bonnet which then falls down her back with her wavy hair.

Her shoulders and upper back is bare and her top can be seen falling over the skirt.

She has her right foot resting on the top of the rock wall and her left foot is on the stony ground.

It is signed on the back, right side, “ILT” and on the left side, “1886”.

This is a very imposing piece and would make a wonderful addition to any collection.

Written by, Mark E Shellshear.
                    Art consultant.

Isabelo L Tampinco “Venus reclining on a sea monster with Pluto.”

“Venus reclining on a sea monster with Pluto.”

By Isabelo L Tampinco [ 1850 – 1933]

cold cast marble.

29cm x 54cm x 6cm deep.

Signed.. ILT.

“Venus became a popular subject of painting and sculpture during the Renaissance period in Europe. As a "classical" figure for whom nudity was her natural state, it was socially acceptable to depict her unclothed. As the goddess of sexuality, a degree of erotic beauty in her presentation was justified, which appealed to many artists and their patrons.” From Wikipedia, the free encyclopedia.

Tampinco's version of Venus on the sea monster is very different from the sculpture by John Deare (English, 1759 - 1798) which is the most heralded sculpture.

Venus, the goddess of love and beauty, reclines on a fantastic sea monster in this allegory of Lust. The goddess entwines her fingers in the creature's mane a gesture that represents erotic intent while in the background Pluto adds to the amorous imagery by holding her leg, undoubtedly meant to suggest the burning ardor of desire. The sea monster carries Venus through the frothy waves, as she rests back her gaze looks of into the distance with anticipation.

Isabelo Tampinco displayed his great skill in carving a variety of levels and textures in this sculpture, from the low relief of the Pluto to the smooth, full depiction of Venus, and finally to the sea monsters head and snout and wavy strands of hair caught in the waves of the sea, carved with energy and precision.

Tampinco's classic depiction of Lust as a woman riding on a sea monster forms part of the classic sculptural tradition that was been popular in the Philippines during the Spanish times.since the Middle Ages.

This sculpture is signed on the back of the lower base “ ILT”.

Everything about this sculpture is stunning and shows the amazing talent of the true cultural heritage of the work of Isabelo Tampinco.

Written by , Mark E Shellshear.
                     Art consultant.

Conversation about collecting,PSI, price per square inch?

Conversation about collecting.

I want to discuss this view that paintings should be priced by the square inch.

I was asked about this subject a few days ago and the person in question was quite upset with me for not agreeing with them, as they put it, “ This is how we do it here” and who am I, an intruder to come out against the standard practice in this Art community.

The fantasy.

I am one of those who does not subscribe to fantasy of PSI, price per square inch of a painting by an Artist, no matter what the quality of the painting is like. This is just the hype of the Artpreneurs who have a vested interest in getting the highest price possible, no matter what the quality of the painting is like by a particular Artist.

I do not believe every painting by an Artist is his best.

Artists like all of us have good days and bad days.

Tiger Woods the greatest golfer of all time has bad days.

It is part of being human and Artists are not exempt from this particular human frailty.

I know of a champion sportsman who after he retired wanted to become a dealer in Impressionist art, he bought many pieces by Monet and Renoir believing that any painting with their signature on it would be valuable and they were sold to him priced per square inch. He bought the paintings believing the fantasy to be true and sadly these were not A list paintings and he got stung badly.

Needless to say he is no longer an art dealer.

Conversation about collecting.

I would like to continue our discussion about the pricing method of price per square inch.

Why do I bring this PSI, price per square inch subject up?

Because I was challenged about it and told I was wrong and my view was unwanted and uncalled for.

So I will again say my thoughts about this pricing method.

I must reiterate, every painting by a great Artist or any Artist is not his best and collectors need to resist this cash grab and begin to say no.

I understand that many practising artists value their paintings by the square inch and I do understand why they do it, my problem with it is that is fine for the good paintings but what about the not so good and the bad paintings?

Are they all of the same quality and value?

Are they all equal?

No, I do not think so?

It is amazing when young artists come along and show their work, they will even say that this is their best work but they feel others are not so good. Very honest in there own assessment of their work, unsure of themselves you may say, but 20years later all their paintings are now of equal quality and all demand to be priced the same at so much per square inch?

What happened to some are very good and some not so?

Why then do so many artists discount their work when asked to by a buyer, if the work is really priced by the square inch and it is all of equal quality and equal value?

I am sometimes left quite perplexed by what happens, the price is set at so much per square inch and the collector then wants a discount and the artist caves in, I thought the price was set?

Conversation about collecting.

I want to continue to discuss the view that why should paintings be priced by the square inch?

Collectors it would be fine if every painting was of the same quality and they are not.

It would be fine if that was a stable price but I know if discount is asked for it will be reduced in price, thereby saying that PSI is not a firm and fast rule but it is the first price before we give discount.

Auction prices prove that this is a fantasy.

I looked at the paintings sold in the last couple of years in Auctions by a National Artist to see if the selling price achieved by the Artist could be calculated at PSI and I was amazed to see the wide gap between the highest and lowest PSI value, as much as PHP10,000.PSI.

This does show me that collectors on the whole do distinguish between the good paintings and the not so good paintings by the same artist, they demonstrate this by the prices paid.

If an Artist is one of the Art World stars then they may be able to price PSI and get away with because of their popularity and demand, but be careful make sure they are all their best work.

Collectors let me know your thoughts about this very interesting subject.

Happy collecting.

Mark Shellshear and Team Galeria de las Islas.

Conversation about collecting.

My conversation with Robert Lane continues as discuss the subject of affordable art to all.

He said, “I have always endeavored to offer affordable original paintings and quality prints at prices to fit all budgets.

I want everyone to be able to get the benefit of owning a beautiful original painting or print and experience the joy of having beautiful artworks in their homes.

What if I had never bought a piece of Art before?

Mr Lane said, “ You need to find someone to guide you and instruct you about buying your first piece of art. You will need to decide where you will be hanging art work in your home, and you will need to learn all about the history of the artist.”

“Your next challenge is to get to grips with the more technical art talk around art. If you come to my Gallery, we will be very happy to give hints, tips and plenty of advice regarding your purchase of your affordable art piece.”

Happy collecting.

Mark Shellshear.

Conversation about collecting.

I asked Mr Lane, “ Do you see a time when religious icons will be accepted as main stream art?”

Robert Lane replied, “The time is quickly coming when collectors will appreciate these religious sculptures as fine art.

For so long now the religious icons and Saints have been seen only as Religious Art, but the times are changing and many collectors are starting to appreciate the Artistic quality and value of these religious pieces. They are beginning to be seen as Fine Art pieces and appreciated as such, not just as Religious icons.”

“Do you see them being collected like main stream sculpture?” I asked.

Mr Lane replied, “This move of religious art into the fine art realm will certainly make these sculptures and paintings very collectible and appreciated by collectors.

Religious sculpture is becoming a wonderful investment for the discerning collector of sculpture by the old masters.”

I was involved in a discussion with Robert Lane and he was talking about the “Accumulation of History” of each work of art within a collection.

He talked about how many collectors seem to loose sight of the continuing need to build added value into their collections, he said, “ By recording all their knowledge of their collections and continuing to search for evidence to further establish the providence of their paintings will build added value into your collection.”

He pointed out that this is really an on going need within any collection.

He was very vocal about getting artists to authenticate paintings again, even if there was an earlier authentication of the painting, making sure that the Artist clearly acknowledges the painting as theirs.

All this he said amassed value and a sense of history within your collection.

Happy collecting.

Mark E Shellshear.

Mark Shellshear, Thoughts on buying original Art.

Buying original Art.I.

When you are looking for a painting that you will love and enjoy living with for many years, here are some thoughts on buying.

I cannot say this enough, do not be rushed into the sale.

Buy your painting, not from a sales person, but from someone who loves Art, and sells it for a profession.

Do not let sales people or the urgency of an Auction rush you into buying, if you miss it then it was not meant to be.

I have people bring me paintings that they bought in the excitement and feeding frenzy of the auction or from sales pressure and find they have spent to much for the painting and now they cannot even sell it for what they paid for it.

I say all of this just to caution you.

Buy the Art work because you love it.

Buy the Art work from someone who loves Art and is not just a sales person.

Buy work you have thought about and have not been rushed into the sale.

Buy work the gives you good value for your money.

Buy work that will bring you joy for many years.

Happy collecting.

Buying original Art, II.

First of all, the number one reason for buying a painting and collecting Art, you buy it because, you love it.

Research the paintings you like, find out all you can about it.

Once you have an idea of the value of the paintings, begin to search out the paintings in the Galleries or Auction houses of your choice.

Set a budget and stick to it, especially at an auction.

At a Gallery check out the best price you can and never be afraid to walk away, after all it is just a painting.

When you love paintings and sculpture, it will consume your life, therefore everyone who buys a work of art, wants to go from the transaction happy and satisfied that they got a good and fair deal.

If we are all happy with the outcome then the world is a nice place.

I want my collectors to love the work of Art that they have purchased and to want to live with it and it is my hope and desire that the painting or sculpture that they purchased will bring them lots of joy.

Collecting is a wonderful pursuit that can bring the collector much joy and happiness.

Happy collecting.

Mark Shellshear.

Maybe you have never bought an original painting from an Art Gallery?

Buying original Art III.

When you consider purchasing a painting, an original piece of Art, remember our first point, buy what you love.

The painting or sculpture that you are buying, is something quite unique, the work of a talented Artist that will increase in value over your lifetime.

You will become the owner of a work of Art, an original one of a kind piece, originating out of the creative life of the artist.

Demonstrating all the insight, the feelings, the trials and the Artists interpretation of how they see their world and their expression of it.

When you buy a work of Art you are buying into the life of the Artist and in a way you are getting some of the Artist in the purchase, all that the Artist has put into the painting and the journey that the Artist has been on to get to that place where they have able to paint this particular work.

Part of the Artists journey of discovery is revealed within the particular work you purchase.

Happy collecting.

Mark Shellshear.

Buying original Art IV.

Buying an original painting is so much more significant than a photographic print of a painting which there could be hundreds of copies produced.

An original painting gives you a part of the artists life, you are buying into a moment of time in the Artists life, when at this point of their career this painting was completed.

It is very significant for collectors to grasp this idea of the Artist being able to complete a certain painting at a certain moment in time and then as that moment passes they move onto the next painting, leaving this legacy of that moment in time.

Paintings are like the life markers of the Artists life, they point to a certain time and only that time in the Artists life, as the Artist has since moved on.

Buying original Art is buying into the Artists life.

Happy collecting.

Mark Shellshear .

Buying original Art V.

When buying an original painting, you must choose the one which you truly love and can imagine seeing it on the wall of your home. You need to imagine yourself living with this painting and asking yourself will it bring me and my family joy and all those who see it.

Beautiful original paintings come at a price.

A high price is no guarantee that your purchase will be a good investment, so buy what you love and consider it in the long term as you will be living with the painting for many years.

When hung on your wall, an original painting will transform a room, altering the space around it, a painting is so much more than just an image in oil or acrylic on canvas or a piece to match the decor. The painting must enhance the space and demand attention, it is the focal point of the room.

It is the unique expression of the Artist, it is a statement of their creativity, at a certain moment in time in their life and their individual vision of the world that they lived in it at that particular time and it is a one of a kind, something very special.

Buying your first painting can be a lot of fun and it will bring you joy and satisfaction and could be the beginning of your own collection of beautiful art works.

Happy collecting.

Mark Shellshear .

Graciano Nepomuceno - “ Adam / Malakas ”

[ original title unknown.]

Graciano Nepomuceno. [ 1881 – 1974 ]

cast marble.

Sculpture- 60cm high x 16cm wide x 15cm deep

base – 17cm wide x 17cm deep x 5cm high.

signed – GTN

date – 1935

Description.

This a very handsome Nepomuceno sculpture.

The face is very expressive as Malakas stares off into the distance, his chin firm and strong. The face is well carved with a strong nose, expressive eyes and tight shut mouth. He has the look on his face of being very alert as if he expecting something about to happen.

The hair is swept back and long, falling onto his shoulders.

He is naked but for a grape vine wrapped around his waist.

He is holding a thick branch in his right hand and his left hand is behind his back.

Nepomuceno has always achieved wonderful anatomy, he was a very skilled sculptor always finished his work beautifully.

There is no damage on this sculpture all fingers and toes are intact as with the facial features.

It is signed back left, behind the left foot, “GTN” and the other side behind the branch it is dated, “ 1935”

Distinguishing marks.

The base is an eight sided block, with visible chisel marks on the top and side.

On the back right side beneath the date, there seems to be an inscription, but it is not legible.

Remarks.

This is an excellent example of a Nepomuceno craftsmanship, the finish is very good the detail of the grape vine is excellent and the pose very expressive.

Written by,

Mark Shellshear.
Art consultant.

ISABELO L TAMPINCO, “ OUR LADY OF THE ASSUMPTION”

Isabelo l Tampinco...[ 1850 – 1933 ]

cast marble.

67.5cm high x 36cm wide x 19cm deep

signed, “ I L T”

circa, 1890's

Description.

This a stunning rendition of ' Our Lady of the Assumption” by Tampinco assuredly shows us the undoubted skill of this master sculptor.

This depiction of Our Lady, has her standing on a cloud, wind caught in her cloak as she rises up into the heavens.

Her face is very calm and serene, her eyes are closed and the head bowed slightly forward.

Her hands are together in the symbol of prayer, all ten fingers are visible. Her hair can be seen on the top of her head and at the sides under the veil that she is wearing.

She is wearing a long sleeved round necked dress that is caught around the waist by a belt. The dress is very long and the folds of the drapery are very distinct.

Her cloak is caught at the front by a round clasp, the cloak goes wide over her shoulders and falls down her back. The wind has caught the cloak and flies away at the sides in big folds as the wind ruffles it about.

Our Ladies feet can be seen, protruding out from under her dress, she has no foot covering on her feet.

The drapery is very nicely done to give the effect of wind hitting the clothing and blowing it into folds.

There is a distinct line around the hem of the dress and the cloak.

The sculpture is signed on the center back with the initials, “ I L T”

Comments.

This a very lovely sculpture and it has no damage. All fingers and toes are intact and the face is without blemish.

This sculpture certainly radiates a special beauty, not just because of the subject matter, but also because it is a very masterful piece.

This sculpture was made in the 1890”s.

Written by,

Mark Shellshear.
Art consultant.

GRACIANO T NEPOMUCENO ….. “ Our Lady of the Assumption”

Graciano T Nepomuceno. [ 1881 – 1974 ]

Carved and painted wood.

Sculpture:- 61cm high x 28cm wide x 14cm deep

Base :- 21cm high x 24cm wide x 28cm deep

Signed. “ G T Nepo ”

Circa :- early 1900's

Description.

This is beautiful version of “ Our Lady of the Assumption” by Nepomuceno, depicts Our Lady looking up serenely into the heavens, knowing She is going home to Her Son.

Her hands are both clasped to Her chest not in prayer but more in adoration of Her God.

While striking this pose Her left heal is on the head of the serpent.

Genesis 3 : 15 “ And I will put enmity between you and the woman, and between your offspring and hers; he will crush your head, and you will strike his heel."

Our Lady is dressed in a gold dress with flecks of red on it. The dress is round necked, long sleeves and is caught around the waist with a gold sash.

Her cape is draped over Her right shoulder and is wrapped right around Her body.

It is interesting how the cape is carved so the inside can be seen as well, especially on the left side and around Her back and it is being blown up behind Her head as she is rising up to heaven. The cape is trimmed with gold.

She has no head covering and Her hair is being blown over Her right shoulder.

She is standing on a cloud as she rises up to heaven. Her feet are bare and be seen protruding from under Her dress as she stands on the cloud.

The snake can also be seen under Her dress, its head coming out from beneath Her left foot, it has a red apple in its mouth. Its body can be seen under the dress on the left side and its tail can be seen coming out behind Her right foot.

The base is in the shape of a cloud with three Angels looking out, the three have brown hair and wings.

The base stands on another base that is six sided and painted dark brown.

Distinguishing marks.

The sculpture and the top of the cloud are one piece of wood, the join is on the middle of the cloud and the bottom of the cloud and six sided base are one piece of wood.

The sculpture is in excellent condition, all fingers and toes are accounted for and the face has no damage.

The paint is in good condition considering the age of the piece.

The cloud is painted pale blue and the six sided lower base is brown.

The sculpture is signed on the back right side, below the tail of the snake, “G T Nepo”

This is a very nice sculpture By Nepomuceno, taking religious Art into Fine Art Sculpture.

Written by,

Mark Shellshear

Art consultant.

ISABELO L. TAMPINCO…. “The Christ Child Jesus.”

Isabelo Tampinco. [ 1850 – 1933 ]

Original title unknown.

painted carved wood.

Sculpture:- 48cm high x 24cm wide x 17cm deep

Base :- 10.5cm high x 20.5cm wide x 21cm deep.

Signed:- “ I L T ”

circa, 1870's.

Description.

This is a very charming early Tampinco wood sculpture.

He was still refining his craft when he produced this piece and it is not as precise as his later works. Yet there is a wonderful quality in the work and within it holds the promise of a very productive future.

I do find the sculpture very pleasing and has a certain presence about it.

It reminds me a lot of the Christ Child in the Holy Family, the head is very similar. The Christ child here is clothed in a brown tunic that is wrapped around him and worn over His right shoulder, with the left shoulder bare, He is not wearing an undergarment.

The face is quite disarming, He is looking down and He has quite a contented, serene look on his face.

His hair is long and well carved with ringlets at the back.  

His fingers are all intact and on His right hand one finger is pointing down.

Everything about this sculpture speaks of volume. The Christ Child is portrayed with still carrying some baby weight and his clothing is very full, and the drapery is also full and rounded.

His feet are bare and He is standing on a raised platform on the base which was painted blue.

This not a finely carved late Tampinco piece as he most likely did it as an apprentice at the time.

It is really a wonderful piece, it is a very charming Christ Child.

Distinguishing marks.

The base is in two sections, the sculpture and the raised platform are one piece and they stand on a larger eight sided base, which is larger at the bottom than the top.

The sculpture is signed on the centre back of the base, “ I L T ”.

Because of the age of this sculpture the paint work is faded, but the sculpture itself is in very good condition.

Written by,

Mark Shellshear.

Independent Art consultant.