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.

Guillermo Tolentino…' Triumph of Death over life” after Jose Rizal.

Guillermo Tolentino..[ 1890 – 1976 ]

Cast marble.

Sculpture:- 42cm high x 11cm wide x 18cm deep.

Base:- 18.5cm high x 10cm wide x17.5cm deep.

Signed, “ RIZAL” and

“G.E. TOLENTINO”

“1961”

The Triumph of Death Over Life
Given to Dr. Blumentritt in 1890 in Brussels

“There were two sculptures Rizal made for Dr Blumentritt in 1890. One is the Triumph(or Victory) of Death over Life.

This sculpture shows a beautiful naked woman collapsed in the arms of a hooded skeleton.
Life is personified as a beautiful female and Death as a skeletal male.”

Description.

This is an interesting composition of the naked girl collapsed and really draped over the skeleton.

Her head resting on the left shoulder of the hooded skeleton and both arms hanging down her sides, her right hand holding onto the arm of the skeleton. The skeleton is holding her firmly and both skeletal hands can be clearly seen.

The girl is naked.

The skeleton is dressed in a hooded long sleeve tunic.

His face is a skeleton and the hollow eyes stare out into the distance.

Both the face of the girl and the skeleton are clearly defined.

The fingers of both figures are complete as are the toes of the girl.

The skeletons feet are shod in boots

From the back it can be seen that the hood on the head of the skeleton has a peak at the back that hangs down and also a narrow cape which also falls from the shoulders.

The hair of the girl hangs down the back of the man.

The skeleton is standing on a rocky out crop and a Prickly Pear Cactus can be seen growing on the left side. [ This cactus is not found in the Philippines but is found in southern Spain.]

 Distinguishing marks.

Under the left boot at the base of the rocky outcrop is the printed word, “RIZAL”

On the base underneath the lip is a carved rope section, all around the base.

The front of the base has the inscription, “ TRIUMPH OF DEATH OVER LIFE”

On the back of the base it reads, “G.E.TOLENTINO

                                                                 1961”

This sculpture was from the original sculpture by Jose Rizal done in 1890 and then copied by Tolentino in 1960.

Mark Shellshear

Independent Art Consultant.

FRANCISCO MONTI… “ APOLLO AND DAPHNE.”

FRANCISCO MONTI… “ APOLLO AND DAPHNE.”

After, Bernini - Apollo and Daphne.

By Francisco R. Monti. [ 1888 – 1958 ]

cast marble.

46cm high x 18cn wide x 20cm deep.

Signed, MONTI.

Mythological legend.

When Phoebus (Apollo), fated by Cupids love-exciting arrow, sees the maiden daughter of Peneus a river god, he is filled with wonder at her beauty and consumed by desire. But Daphne has been fated by Cupids love-repelling arrow and denies the love of men. As the maiden flees he relentlessly chases her—boasting, pleading, and promising everything. When her strength is finally spent she prays to her father Peneus:

'Destroy the beauty that has injured me, or change the body that destroys my life.' Before her prayer was ended, torpor seized on all her body, and a thin bark closed around her gentle bosom, and her hair became as moving leaves; her arms were changed to waving branches, and her active feet as clinging roots were fastened to the ground—her face was hidden with encircling leaves.

Phoebus loved the graceful tree, clung to it and kissed the wood:

But since thou canst not be my spouse surely thou shalt be my tree. Thee O laurel my hair, thee my lyres, thee my quivers shall always have ... And as my head is youthful with unshorn locks, do thou likewise wear always evergreen honors of foliage. The laurel nodded assent with its branches lately made.

Description.

Monti's interpretation of Bernini's sculpture is masterful. He has stayed true to the composition and only made changes where integral strength required it.

The anatomy of both characters is perfect and the changes taking place in Daphne can be clearly seen. The bark is clinging to her right foot and climbing up her left leg to her stomach and doing the same on her back as her transformation into a tree takes place. Her hands are changing into leaves and branches as she looks back over her right shoulder past Apollo.

         

Apollo is holding onto her left side in the hope of stopping the transformation of Daphne into a tree.

Apollo has a cloth around his waist that flows out behind him and is draped over his left shoulder. His feet are shod with sandals.

All fingers and toes are intact and the facial features are complete.

The hair on both characters is beautifully sculptured and the detail is outstanding and Daphne's hair falls down onto the left shoulder of Apollo. The flowers and leaves around the hands of Daphne and those on the base of the tree are beautifully carved and the detail is excellent.

Francisco Monti was a marvellous sculptor and his work on anatomy is unsurpassed, as can be seen in this sculpture. This a very beautiful sculpture and very well finished.

Comments.

This sculpture is signed front right side on the base below the sandal of Apollo, it is simply signed, “ MONTI ” no date is recorded on the piece.

This sculpture has a double base.

This sculpture is in very good condition.

This sculpture of “ Apollo and Daphne” is available for viewing and purchase at Galeria de las Islas, Silahis Center, Intramuros, Manila.

Written  by,

Mark Shellshear.

Art consultant.

.

          

GRACIANO NEPOMUCENO - “ ECCE HOMO ”

Graciano Nepomuceno [ 1881 – 1974]

Title:- “ Ecce homo.”

cast marble

35cm high x 22cm wide x 25cm deep

Signed:-                    " G.T. NEPOMUCENO

                                                       ECCE HOMO

                                                                 1939"

ECCE HOMO - ek'-se ho'-mo (idou ho anthropos)
"Behold, the man!" John 19: 5.
Pilate's statement regarding Jesus during His trial. While the significance of this statement is somewhat debatable, yet there is little doubt, as judged from his attitude and statement immediately following, that Pilate was endevoring to appeal to the accusers' sympathies and to point out to them the manly qualities of Jesus.

Ecce homo ("behold the man", Latin:[ˈɛkkɛˈhɔmoː]) are the Latin words used by Pontius Pilate in the Vulgate translation of John 19:15 when he presents a scourged Jesus Christ, bound, robed in purple and crowned with thorns to a hostile crowd shortly before his Crucifixion.
"Behold the man!"JOHN 19:5.
The scene has been widely depicted in Christian art.

Description.

This is a classic Nepomuceno sculpture of the head of Jesus Christ, portraying the abused Christ before the Roman court on trial before a reluctant Pilate and a hostile crowd.

This sculpture certainly captures the anguish and despair on the face of Christ, the look on the face of the scourged Christ was that of appealing to God the Father rather than Pilate.

It is a very compelling sculpture, to describe the relevant features of this sculpture would take away from its compelling nature.

Sometime one comes across a piece that one needs to view in silence to really understand the dramatic story behind the sculpture.

It is a beautiful bust of Christ that captures a moment in time at his trial.

The bust stands upon a round pillar base.

Distinguishing marks.

It is signed on the back of the sculpture:-

                                     " G.T. NEPOMUCENO 

                                                             ECCE HOMO

                                                                       1939"

Remarks

This is truly a remarkable sculpture by Nepomuceno. 

His rendition of the abused Christ is masterful and in many ways inspired and for me one of the most touching of the sculptures represented in this stunning collection of Philippine Masters.

This is a must see sculpture in this Masters collection. 

Written by,

Mark Shellshear.

Art consultant.

GRACIANO NEPOMUCENO… “ Holy Trinity”

GRACIANO NEPOMUCENO [ 1881 – 1974 ]

“ Holy Trinity ”… original title unknown.

painted and sculpted wood.

72cm high x 29cm wide x 19cm deep.

Signed lower right back, “ G T NEPO .. 1935. ”

Description.

This is a very interesting depiction of the Holy Trinity by Nepomuceno. It is an intriguing composition of the three, clustered into one, very representative of the Biblical teaching of the Trinity, the three are one.

It shows God the Father standing tall in full regal splendour with Christ crucified on the cross in front of Him.

God the Father is dressed in a white long tunic with a red cloak over His shoulders and it is caught in the front.

He is wearing a thee crowned tiara on His head.

His hair is long and curly and falls onto his shoulders.

He has a beard and His gaze is straight ahead, as if lost in the agony and death of His beloved Son.

The feet of God the Father can be seen under the robe and they are uncovered.

God the Father is holding the cross on which Jesus was crucified, His hands are clearly seen holding the cross.

Christ on the cross is presented dead and bleeding, the nails are visible in His hands and feet and the piercing of the spear can be clearly seen on the left side of His chest.

The Holy Spirit is portrayed as the dove and forms the top of the cross, with its wings outstretched.

It certainly does give a real sense of the time when Christ hung on the cross and was carrying all the sins of mankind.

Yet even in this lost and lonely time God the Father is depicted in this sculpture as still with Christ, supporting Him by holding up this terrible cross.

It is a wonderful portrayal of the Holy Trinity together at the climax of the ages, the death of Christ.

Jesus Christ on cross is wearing a loin cloth, it is not the romantic Christ represented here, but the dead Christ shown, dying for mankind.

The Holy Spirit is very nicely carved and painted blue.

It is very interesting how the Holy Spirit is carved into the cross and even is the top of the cross with His wings outstretched.

The other very interesting fact is how the hands of God the Father are under the cross holding it up and how the cross becomes part of the front of the cloths of God the Father.

This sculpture not only is a beautiful piece but it tells an amazing story of the salvation of mankind and told in a wonderful descriptive way, showing the Holy Trinity, all present at the time of the crucifixion.

The base is eight sided and relief carved and painted black and green.

Distinguishing marks.

The sculpture is signed at the bottom left side of the back on the robe,

“ GT NEPO. 1935. ”

The base is relief carved on the front and sides, but not carved on the back.

The sculpture is in good repair considering its age and there are no visible repairs.

The cross is set into the front of God the Fathers tunic and the Holy Spirit is also set into the cross.

Written by,

Mark Shellshear.

Art consultant.

MAXIMO VICENTE.. “ Our Lady of the Barangay.

MAXIMO VICENTE [ 1881 – 1974 ]

carved and painted wood.

50cm high x 20cm wide x 14cm deep.

Circa late 1950's.

Origin

This image of our Blessed Mother and Her Son Jesus Christ was painted by the late Mr. Crisogono A. Domingo, an inmate of Santa Barbara Leprosarium, a mere house painter. He painted this image as an offering to Our Blessed Mother for the BARANGAY SANG BIRHEN ORGANISATION. This is a catholic action organisation mandated in the Philippines.

BIRHEN SA BARANGAY was the title given by Datu Antonio C. Gaston as founder and leader of the “Barangay Sang Birhen” Organisation. The idea of the image was born in Cadiz City in 1954. It was painted and finished by the painter just before the liturgical ceremonies.

 Description.

This a very late career sculpture by Vicente in honour of the new Virgin, Our Lady of the Barangay. It is just like the original painting and very well carved.

The face of the Virgin is nicely carved, the features are distinct and the eyes in this piece are glass.

The Virgin is dressed in a round necked white dress with butterfly sleeves and an over skirt in the traditional red and gold stripes. She has a white head covering that reaches down her back and two flaps of the head covering fall down the front and over her arms.

The Christ Child is wrapped in a white cloth that falls down his back and cover his feet.

His head is not covered and traditionally He is holding a rosary in His left hand. The original rosary was lost and has been replaced with a new one.

His right hand has two fingers held up and two fingers curled

This sculpture is in reasonable condition for around sixty years old with the original paint.

 Distinguishing marks.

There is no signature on this piece.

Two nails and small squares of brass, indicate that there was a brass halo on the back which is very prominent on most sculptures by Vicente.

The paint is original and it has no repairs on it.

This is a beautiful sculpture that captures Our Lady of the Barangay beautifully.

This sculpture comes with Certificate of Authenticity and provenance.

By,  Mark Shellshear.
Art consultant.