Auction .0004 Holidays at the Casa Catalog

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preview

November 27, 2016, Sunday

November 16-24, 2016

2:00 PM Onwards

10:00 AM - 6:00 PM

venue

contact

156 Jupiter corner Comet Street,

722-0414

Brgy Bel-air, Makati City

info@casadememoria.com CasaDeMemoria.Com @CasaDeMemoria

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visit 156 Jupiter corner Comet Street, Brgy Bel-air, Makati City contact 772-0414 info@casadememoria.com online CasaDeMemoria.Com @CasaDeMemoria Printed in the Philippines. Š Casa de Memoria. All rights reserved. All material in this catalog may not be reproduced, transmitted or distributed in any form without the written permissions of Casa de Memoria Casa de Memoria reserves the right to accept or reject any article or material, and to edit this material prior to publication.

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Contents Auction Lots

6 - 305

Terms and Conditions

200-208

Contributors

211

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001 Vintage Chesterfield Seat 72 x 110 x 95 cm.

When the modern meets the classic, an inviting result comes as to this piece. A Chesterfield upholstered seat with tufted green peach leather which is dated 20th century from United Kingdom. Chesterfield style was notable as the first of its kind to furnish deeply upholstered seats with padding, webbing, spring, and leather covers. Too gorgeous with its vintage look, especially because of capitonnĂŠ feet in front, the piece also celebrates its fitness to modern needs. Leather covering keeps long-term maintenance. Casters are for facile mobility and adjustments. Truly, a sofa perfect for both utility and comfort.

Generally stable.

PHP 90,000.00

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002 Fancy Blowfish 77 x 145 cm.

An eye candy, fancy and eerie, familiar and yet strange – this retro pop art inspired synthetic sculpture of a blowfish on a metal base, which playfully appears like a lollipop figure, is dated between the late 20th and 21st century France. Immediately noticeable are the contrasting, yet beautifully combined tones of tiffany blue as the figures dominant skin; and bubblegum pink as the colour for the stand as well as for the heart shapes throughout the blue figure.

Inciting eeriness are the sharp protrusions of the blowfish’s eyelashes and side fins. This is further complemented by its pouty lips, which appears ready to kiss or blow before its beholder.

Generally stable. With very minimal defect.

PHP 260,000.00

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003 Art Nouveau Birdcage 188 cm.

Dated roughly between the late 19th and early 20th century, of European provenance. The item is a tall birdcage with stand that is primarily made of yellow metal and engraved glasses serving as translucent side covers for the coop itself. This metalwork, with a slender framework and carrying bead motif, typifies the Art Nouveau, an art style which emerged in France and Belgium and make use of not just stylized floral/plant designs but also “curved lines� to form structures. Hence, the overall appearance of this piece is seen to adhere and illustrate such characteristics aforesaid.

Stable.

PHP 100,000.00

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004 Louis XIV Style French Gueridon 57 x 97 x 62 cm.

Elegant with its black marble top, this Louis XIV style French gueridon made of gilt wood is dated back to the 19th century. Its voluptuous black marble top exemplified its innate beauty, as graced by the natural formations of white veins all over its composition.

The large slab of marble rests on a gilt wooden frame, dominated with Baroque revival elements. The acanthus foliate motif ornates the frieze as well as the top of each of four cabriole legs. The curvaceous table edges as well as the complementing black marble and gilt wood give the piece an impression of a gilded classic.

Generally stable but with very minimal defect.

PHP 180,000.00

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005 Fireplace Screen 79 x 125 cm.

French in form, specifically adhering to the Napoleonic style.

This finely crafted wooden piece is a fireplace screen (or fire screen), a furniture associated culturally to European or Western societies located in temperate region. Its main purposes are to serve as protection from the hearth’s flying embers during winter season as well as to lessen the heat being emitted by the fireplace.

However, such functions are being switched to a decorative utility (i.e. as a cover) when summer arrives. The item is dated between the 19th and 20th century, centered with a colorful painting of varied flowers, and carries Empire style motifs which include garlands, acanthus leaves, claw feet and a grotesque relief.

Also, an image of a nine-pointed crown, the symbol of a count or a duke, rests at the middle top portion of this object which hints to its provenance.

Stable.

PHP 50,000.00 12

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006 French Rococo Revival Screen Panel 181 x 147 cm.

Beautifully made 19th century French screen panel out of oil painting on leather is dated in the 19th century and in the style of Rococo revival. The screen has four (4) foldable panels. Together, they illustrate the late 18th century social history of everyday life.

It was then when men used to wear periwigs, symbolizing social status. While the women of their society wore petticoats and corsets to achieve the ideal feminine figure: that of an hour glass.

The central cartouche, where this French lifestyle is depicted, is embellished with flames and asymmetrical diagonal lattice on corners of the screen, where cherubs rest. Also, asymmetrical latticework is present on the top sides of the cartouche’s frieze.

Aside from cherubs, this antique screen is also ornated by garlands, botanical-floral motifs such as pink roses and lavenders.

Stable.

PHP 260,000.00

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007 Mini Cooper Armchair 92 x 130 x 76 cm.

Made from the spare parts of a Mini Cooper car, this vintage armchair illustrates resourcefulness and creativity of the maker. It has a teal coating, an upholstered seat with gray color and bears no plate number. Visible at the back is the brand logo: “Mini Cooper� text, in red and bold font, and surrounded by a laurel wreath. The Mini Cooper model was released from 1961 to 1971, a span of ten years, by the British Motor Corporation. In the last decade of the 20th century, it was re-launched which brought nostalgia to European, specifically British, community of car enthusiasts and collectors of this classic economy car.

Generally stable.

PHP 420,000.00

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008 Canapé Valeria Capitoné

by Mario Galimberti 100 x 210 x 110 cm.

Accommodating the simplistic tendencies of the modern age, yet carries the elegance of its vintage spirit. This Italian vintage style sofa prides its ecru toned linen, partnered with ogee embroidery on the long seat, which rests over its gilt wooden framework. The piece is dated back between the late 19th and early 20th century. Its knotted styled buttons emphasize the sophisticated taste they furnish throughout the deeply upholstered broad back-rest. The emboldened cushion on the top, which flows down to the wings and elegantly descends through the feet, provides a sense of pride to the curvaceous form of the piece in itself. Undoubtedly, a piece that is fairly magnanimous in modesty.

Beautiful as elegant it is, this highly prized signature piece is by renowned Mario Galimberti, an artisan of Cantù, Lombardy in Italy. His works “enter the modern home as indispensable instruments of a high life-style, the elegant lines, the balance and the great care taken for the finishes produce a special charm which has always been based on classical tradition (see progettogallery.it).”

Stable.

PHP 230,000.00

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009 Baroque Style Console Table 96 x 204 x 36 cm.

From Portugal, dated late 18th century. The item is classified as a console table, a key furniture innovation in the 17th century. Console tables, unlike utilitarian ones, function as a decoration in formal reception rooms, hence, an indicator of one’s social status or wealth. In this piece, an adherence to the Baroque style is exemplified due to its symmetrical and heavy form. Its entirety is made of gilt wood except for its base which retained its natural appearance. The table top where the marble rests has sides filled with a series of reliefs, and supported by two pairs of sculptured columns, of which illustrating hybrid animal figures.

Stable.

PHP 200,000.00

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010 Louis XV Style Gilt Console Table with MarbleTop 90 x 113 x 49 cm.

Beautifully carved and gilded console table, made of wood with marble top, which is fashioned in Louis XV style. This piece is dated back to the late 18th century and is French in provenance. The simplistic appearance of its cropped pale ecru marble top gives balance to the curvaceous features of this piece. This compliments with the voluptuous appeal of its cabriole legs, embellished with acanthus foliages, flames, coquille and lattice motifs.

With minimal defects.

PHP 260,000.00

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011 Cristo Moribundo Oratorio Oratório: 151.5 x 100 x 47 cm.; Christ: 33 cm.; Cross: 99.5 cm.

A Portuguese oratorio of Cristo Moribundo that follows the Baroque tradition. The hollow itself is primarily made of rosewood; the cornice, which has been cut, is specifically fashioned in vegetal pattern extending to its protruding pilasters and windings. The interior, painted with blue background, is filled also with stylized and gilded foliage embellishments. A painted wood sculpture of a crucified Christ is situated inside which depicts him in a moribund state. His head forwardly dropped, draped with a cloth at the waist, and the prominence of wounds evokes a poignant image and humanness of Jesus. Above him seems to be a silver aureole with beaming rays of light and an attached sign “INRI,” an abbreviation of the Latin inscription “Iēsūs/Iēsus Nazarēnus, Rēx Iūdaeōrum (Jesus the Nazarene, King of the Jews).” The cross itself is fixed with elaborately crafted silver rayos as well as cantoneros, and stands on a base with three scrolled leaves feet.

With minor defect, generally stable.

PHP 240,000.00

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012 Oratório D. José 185 x 81 x 48 cm.

An 18th century oratório primarily made of polychrome and gilt wood. Of Portuguese provenance, this object of antiquity that subscribes to the Baroque tradition serves as a private praying altar.

Its exterior is lavishly embellished with sophisticated carvings and cut works, of which have designs of are floral and cherubs reliefs. The interior, also gilded, is highlighted by the stylized leaves it profusely exhibits. This vintage oratorio, it culturally reflects the religious vibe and lifestyle of Portugal under the rule of King D. José I, The Reformer (1714 – 1777).

With minimal defects.

PHP 150,000.00 auction .0004 2016

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013 Maquineta with Sculptural Set 85.5 x 59 x 35.5 cm.

Emboldened with solemnity, this maquineta with 11

the dead body of Christ which is lamented by the

religious figures in terra cotta is dated back to the 18th

Sorrowful Mother with St. John, the two Marys, St.

century from Portugal. Maquineta is a religious altar, similar

Veronica, St. Joseph of Arimathea, and 4 pharisees.

to retablos and oratorios, but differs as it has glass cover and commonly ornated with figures representing holy scenes.

The Lamentation was a very common theme in

The frieze of the maquineta reflects the influence of the

Christian art history from the High Middle Ages until

Baroque tradition, especially with the ornations of palmette

the Baroque period. Its depiction often overlapped with

and acanthus foliages. The glass cover also bears vegetal

the Deposition of Christ from the Cross, Pieta, and the

motif, which is complemented by the albarrada design at

Entombment.

the background, as well as the polychromatic texture of the paints on the case’s wooden body.

With defects.

In this piece, the figures are both polychromed and painted

PHP 300,000.00

with gold details. They are positioned to represent the Lamentation of Christ. Thus, explains the centrality of

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014 Napoleon III Style Bonheur-du-jour 104 x 92 cm.

A late 19th to early 20th century writing cabinet-on-

back, and emphasized by an eagle relief in the sunken

stand exhibiting the form and spirit of Napoleon III

mid portion. Its writing surface is made of leather, of

style. This magnificently structured furniture is typified

which bordered with leaf motif and two fleur-de-lis

as Bonheur-du-jour (literally translated in English as

symbols. The lower section, on the other hand, holds a

“pleasure of the day”), a small writing table dedicated

large single drawer with metal relief metal applications

for women and first emerged in France during the latter

and supported by cabriole legs with claw feet. Bonheur-

half of the 18th century. This is characterized as to have

du-jour, as furniture of and for women, symbolically

a “raised back, like a miniature cabinet, made up of

speaks of their socio-cultural relevance in Europe from

shelves, drawers, or pigeonholes designed to hold papers,

the 18th century onwards.

writing accessories, and sometimes toiletries (Miller, 2007:183).” The item featured here has curvilinear sides

Stable.

which seem to resemble arms with claw hands. The aforesaid, furthermore, have florid metal applications on

PHP 230,000.00

it. There are five built-in drawers forming the cabinet’s

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015 Russian Neoclassical Malachite Perfume Burner 70 x 35 cm.

Pair

Tantalized by its texture, serene and profoundly cold colour, this pair of perfume burner bears Neoclassical style as it is fashioned out of malachite stones and gilded bronze metals.

These pieces are exemplary of the Russian Neoclassical revival of the early 20th century.

Gorgeously shaped like urns with cover, the well-decorated pieces have square section bases. The cover prides both its pinecone finial and its frieze ornated with vine leaves and grapes. The urn-shaped bodies and square bases are lavishly designed with gilded palmettes, floral and vegetal elements, and rosettes.

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Malachite was historically known as a highly desired material

by Russian Tsars and nobility. They often decorate their palaces and furnishings with this semi-precious stone. Notable for its distinctly textured green colour, this gemstone is associated with incitement of creativity, mental agility, and balance.

Neoclassical revival style dominated St. Petersburg as a reaction against Art Nouveau. Russian Neoclassicism was drawn from the neoclassical taste of either the Empire style or the Italian villa. It reached its peak from 1950 until 1914, that was between the Russian Revolution of 1905 and the First World War (W.C. Brumfield, The Origins of Modernism in Russian Architecture, 1991, p. 174).

The vivacity and visual texture of the polished malachite gives these pieces superior sophistication amidst other objects of antiquity.

Generally stable.

PHP 620,000.00

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016 Louis XVI Style Sèvres Mantlepiece Garniture Clock: 60 x 41 x 21.5 cm.; Candelabra: 70 x 30 x 21 cm.

Qty: 3

From France, dated latter half of the 19th century. This elegantly crafted Sèvres items collectively form a mantlepiece garniture of an ormolu clock and a pair of candelabras.

Adhering Louis XVI style, these three matching pieces are made of marble and gilt bronze. The clock, which has a marble body and adorned with vegetal, floral and beaded applications, is topped with a detailed sculpture of two Neoclassical women figures.

Portrayed in two different postures, one takes a contrapposto while the other is halfkneeled, oppositely ogling downward, and seeming to be in search of something. The pair of seven-light candelabra, unlike the clock, is filled with more elaborate details such as its scrolled leaves arms, fluted columns, bead series, gadroons, reliefs of a woman, and garlands. Together, the pieces project a striking aura of sophistication as an antiquarian household ornament.

Generally stable.

PHP 280,000.00

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017 Neoclassical Style French Sofa Sofa: 157 x 184 x 84 cm,; Chair: 93 x 45 cm.

Qty: 7

A set of six (6) seats and one (1) sofa, all in Neoclassical style with silk damask cushion in powder blue shade embellished with repeated floral motif, which was crafted in France and is dated back to the 19th century. The set is primarily appealing due to its gilt wood frame, with both the top rail and apron carrying scrolled cartouches, masks, and floral garlands of the noted style. From there, the arms are gracefully carved in curvilinear fashion, which gives the pieces a sensuous appeal. The furniture further bear the curvaceous features down to the legs. Such gracious delineation of this set was inviting to nobility in their desire to converse intimately, yet allowing the host to give more space to receive more of her guests.

Gilt furniture dominated the French monarchical lifestyle up to the Napoleonic periods of the 19th century.

With minor defects, but generally stable.

PHP 430,000.00

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018 Pair of Silver Candelabra with Five Lights 48.5 cm.; 5,745 grams Pair

A pair of Portuguese five-light candelabra made of silver, dated between the late 19th century and 20th century.

It pays tribute to the Baroque Revival style as exemplified by its rich and elaborate reliefs—mainly volutes and acanthus leaves—throughout the body. Both pieces have thickly-built form, curvaceous arms, and with fluted bobeches bases which contrast the dominant motifs from end to end. It also bears a maker’s mark, a letter F enclosed in a rectangular shape, and a boar assay mark indicative of its use from 1886 to 1938. On the same year (1938), it is worthy to note that the use of boar guarantee mark was been put to a stop.

With slight defect.

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piece is profusely decorated in relief. Various motifs employed in this precious material are urns with flowers, scallops, leaves of acanthus, and curvilinear flames and windings. Such complicated application of chisels, engravings, and chasings, emboldens the attractiveness of this silver-piece, especially in terms of its maximized aesthetics. Categorically, these elements described are derived from the spirit of Rococo revival.

It has a ring at the back for hanging which befits it for display in the dining area. Salvers were used as tasting

019

plates before food are served to the nobles in the 17th century. It was derived from the Latin salva, which

Rococo Revival Silver Salver

means to save. But by the 19th century, its plain utility

64 cm.; 3,062 grams

was for serving delicacies.

A grandiose salver made of Portuguese silver, with Porto assay mark of an eagle (Aguia), in use from 1938

With slight defect.

to 1984. It also bears a goldsmith’s mark of the same period. Notable with its intricate scalloped edges, the

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PHP 220,000.00

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020 Rococo Style French Silver Tray 6 x 37 cm..; 1,317 grams

Of Italian provenance, an oval silver tray in the style of Rococo Revival. Such style was one of the early art traditions including Gothic, Renaissance and Baroque which re-emerged during the 19th century, an era of “revivalism.” Artists from this era, with renewed interests from the earlier styles, produced artworks distinctively eclectic too in terms of form. The piece itself has a flat surface and raised borders filled with cut designs. Its prevailing motifs include foliages, flames and lattices which embody the form and spirit of Rococo tradition. Also, the tray carries an undecipherable maker’s mark and a hallmark—number “800” within an oval cartouche—indicating its silver standard as .800 and the period of its production between 1944 and 1968.

With minimal defect.

PHP 100,000.00

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021 Baroque Revival Italian Silver Vase 36 x 15 cm..; 1,145 grams

Massive on top yet slimmer at the base – this gorgeous silver vase is crafted in the style of Baroque revival, which dates back between early and mid-20th century period from Italy. The emboldened vessel, which receives the flowers to be displayed, resembles a figure of a primrose tulip. Voluptuous as it seems, the pouting lips of the receptacle becomes fuller as it goes through the body.

Approaching the round base, the piece is decorated with relief of acanthus leaves that give accent to the silver-piece.

Beneath the piece are some engraved markings, such as: a maker’s mark; 800 purity guarantee; and A 41 MI. The A 41 alludes to the maker’s registered number: Argenteria di Leone S.R.L. (1935 – 1990), which was in force circa 1970.

The silversmith was originally from Via Buonarroti 2 in 1949, but by 1970 they moved to Via Baracchini. Thus, MI stands for Milano.

Generally stable.

PHP 90,000.00

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022 Baroque Style Silver Amphora 35 x 21 cm.; 1,229 grams

From Italy, this silver piece was crafted in the 20th century. It is typified as an amphora, a vessel with two vertical handles that is chiefly utilized in storing wine or other liquors. The term itself has a Greek derivation while the very form came from eastern Mediterranean influence (Cartwright, 2016). This particular item has handles styled in acanthus leaf form resembling the Rococo tradition while the body is filled with dotted chasings, engravings and bas reliefs of foliages. An emplaced oval-shaped semi-precious stone situated at the vessel’s mid portion is beautifully adorned with vegetal reliefs to accentuate its very existence. A tampered label, furthermore, found at the reverse side of the base has texts which probably alludes to Gioielleria Luigi de Simone, an institution/workshop of jewelry and precious stones founded in 1918 at Naples, Italy (see Gioielli De Simone official website). This silver amphora carries the maker’s mark and a hallmark signifying its purity degree of 800 as well as its date of use between 1935 and 1941.

Generally stable.

PHP 90,000.00

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023 Eclectic Style Silver Ewer 35 x 20 cm.; 1,324 grams

Shimmering relic of the past, this silver ewer bears an Eclectic style, which is drawn from the revivalism of Baroque and Rococo influences with minor Neoclassical tendencies as well.

Various marks are embossed at its base, namely: 14 PA, and; 800 in an oval cartouche.

For the first marking: the star indicates that the piece was in force since 1968; while 14 is the registered number of its maker, Giovanni Carmelo Di Andrea, from Via Padre Confermi 6; PA stands for Palermo. Based on the records, Carmelo started in 1935 and gone in the industry between 1955 and 1971.

The eclectic elements present in this silver-piece celebrate the rocaille and coquille themes, combined with the prominent acanthus foliages which are typical on the periods revived.

Ewer is a large jug with wide mouth, used in the past for washing with water.

Generally stable.

PHP 100,000.00

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024 Pair of Bronze Deer 74.5 cm.

A pair of bronze deer sculptures which rest on marble bases.

This set of two animalier figures were crafted and signed by the 19th century French sculptor, Jules Moigniez. The deer as an animal subject here is a deviation from his forte of bird sculptures which he was very known of. Moigniez (1835-1894) was mentored by Paul Comolera, a French animalier sculptor as well who had immensely stimulated his student’s interest on bird subjects. Spanning 40 years, Moigniez extensive and successful career in sculpture was highlighted by his exhibitions at the Paris Exposition Universelle in 1855 and the London Exhibition in 1862. His sculptures were highly reputed within and outside France due to their fine details, quality casting, and excellent chisel work.

Stable.

PHP 450,000.00

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025 Touro de Lide 25.5 cm.

A 20th century animalier bronze sculpture crafted via lost-wax casting. It depicts a bull in a state of difficulty and exhaustion as seen to its body positionality and gesture.

Several banderillas (little flags) can be observed pierced behind its neck and shoulders which directly results to its weakened condition, dragging its body downward. Such image is associated with bullfighting, a Spanish cultural event which first transpired early in the 8th century coinciding with King Alfonso VIII’s coronation (“Bull fighting in Spain,” n.d.). As for the piece itself, it has a noticeable relief on its body that reads “50.” Aside from the small bronze base, a large oval-shaped alabaster base serves as the main pedestal of this work.

Stable.

PHP 60,000.00

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026 Boar Sculpture 15.5 x 25 x 10 cm.

Product of the animalier tradition, this patinated and gilded sculpture in bronze is made between the late 19th and early 20th century from Central Europe. The piece has an inscription on its base, “Ganz es Tarsa Budapeste.” The piece beautifully carries vividly textured features such as the boar’s hair throughout its surface. In 18th century Russian provinces and in Central Europe, boars were viewed as symbols of humiliation. These creatures were common target of hunting, a game prized by the ruling classes.

The figure of the boar is represented with partly bowed head, which would signify its humbled status in the hierarchy of beings. Of which, the prevalent themes in art focused on humanistic subjects like Biblical, historical, and mythical figures. Other creatures and beast like boars were relegated to the peripheries of art-creation, where animals were joined by still lifes in the lower arts. Not until the early 19th century, various sculptors and painters transgressed against this established canon and put animals in the limelight. These artists were later called animaliers.

Stable.

PHP 50,000.00

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027 Horses 40.50 cm.

With bronze as its medium bearing the signature of its maker, the piece was crafted via cire perdue, also known as lost-wax casting technique. It features a mare and a stallion wherein both are positioned with bodies facing each other, but gaze opposite direction. Horses, aside from dogs, are historically viewed as a revolutionary animal for its role in the progress of human civilization specifically on transportation. For instance, horses to American Indians, Elliot West (2011) writes, “It altered their material lives, rearranged their relations with

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their environments, and fed a burst of power and affluence.” Furthermore, it also represents differing cultural characters such as Pegasus of the Greeks, Sleipnir of Odin in Norse mythology, and even Shadowfax, Gandalf’s white horse in J.R.R. Tolkien’s The Lord of the Rings (Garcon & Nosrati, 2013).

The artist, Irénée Rochard, was a French artist who lived from 1906 until 1984. Born in Villefranche-sur-Saône, he belongs in a family of artists. Rochard studied in the Beaux-Arts and Art Deco Schools (1924-1928) under the mentorship of François Pompom and Marcel Edouard Sandoz, both influential to his chosen genre of sculpture, the “animalier.” Mainly worked with bronze, he produced numerous animal sculptures of varied classification, primarily panthers, horses, elephants, dogs, and fowls. With six decades of career in the field of visual arts, Rochard received several French recognitions and awards such as Beaux Arts Academy Prize (1961), the Medal of Honor from the French Artists Society (1980) wherein he was also a member, Edouard Marcel Sandoz Animal Sculpture Prize (1981) among others (Rochard, n.d.).

Stable.

PHP 120,000.00

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028 Crianças Montando Cavalo (Children Riding a Horse) 62 x 67 x 27 cm.

Attributed to the French sculptor, Arthur Jacques Leduc, this finely crafted bronze sculpture exhibits the animalier school which was popularized by Antoine-Louis Barye in the 19th century. Such tradition however did not prohibit Leduc in fusing human element to create an amusing narrative of the piece. The entirety of the work draws a holistic view from its perceiver—that is de-emphasizing one’s focus on the horse alone. It tells a scene of three youngsters: one willingly aids the other in mounting himself on the horse, while the third lad successfully rides on it. These figures of young boys, furthermore, have patinated surfaces which complement to the sculpture’s predominant russet hue.

Stable.

PHP 250,000.00

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029 Bust 35 cm.

Capturing Art Deco’s “innovativeness” not just of approach but also of the utilized media. Max Forti’s bust sculpture classily celebrates modernity and technology without disregarding artistry. Fusing bronze and synthetic medium, the work successfully deviates from the traditional presentation of busts by the earlier periods. It highlights the use of diagonal form rather than the straightforward and vertical construct of a bust sculpture. The bronze male figure is depicted as powerless and blindfolded by darkness which attempts to devour the entirety of his self. Max Forti, the artist, is an Italian, born specifically in 1937 at Venice. Some of his works include bronze and clear Plexiglas kinetic sculpture of trapeze artists (Merin, 1989), “The Swing,” “Union” (1985) and “Wake.”

Stable.

PHP 220,000.00

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030 Pas de Deux 77 x 77 cm.

Remarkably a temporal suspense, this bronze piece captures a still representation of ballet dancers in a pas de deux. The bronze sculpture is dated back between the late 19th and early 20th century from France, when the zeitgeist of Belle Époque dominates the European artscene. The sculpture appears to depict a ballet exhibition called penchÊ (lit., leaning). That is in this piece, the ballerina bends facing her partner with her right leg raised in the air, forming an above 90 degree angle with the other leg. Commonly this exhibition is done in adagio or slow, but sustained and elegant phase, and it requires a support from the ballerina’s pair; thus, it is classified as a supported adagio.

Stable.

PHP 200,000.00

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031 La Pieta 105 x 59 x 80 cm.

A large bronze sculpture of La Pieta, dated between the 19th and 20th century. Notable here is the adherence of the artist to Mannerist tradition which flourished in the 16th century.

The figures of Mary and Jesus, furthermore, are presented in an abstracted manner. This bronze artwork exemplifies figurative readings of compassion, love, as well as distortions of reality. It bears an inscription at the back which reads “Car Bel,� alluding probably to its artist.

Stable.

PHP 560,000.00

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032 Pair of Flowerpots 37.5 x 56 cm.

Produced roughly between the 19th and 20th century, such pieces, to contextualize, carry the style of Art Nouveau. The latter, as described by the distinguished antique expert Judith Miller (2007:19), “was epitomized by its flowing, asymmetrical lines and a pervasive interest in nature.” This description of her embodies the physical form of the cachepots (decorative plant/flower containers) which originated in France. With brass as its medium, the pair displays intricate and stylized floral motif, of which processed through engraving and hammering. This pair of Art Nouveau pieces bears the inscription “A. Bastel – Lyon” which alludes most probably to its artist and specific place of derivation in France.

Generally stable.

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033 Underwood Typewriter 19 x 34 cm.

Revolutionary as it was and still indispensable even with

was the first widely successful modern typewriter. It

the advent of the Digital Age, typewriters were instrumental

pulled together the three main design elements that

in shaping so many aspects of human life. Invented in the

would set the standard for the 20th century, a four-

19th century with varying accounts of its exact, official,

row straight keyboard, front striking type bars (giving

and successful materialization, this equipment had proved

visible typing) and one shift key. The Underwood

useful and efficient as a “writing machine.” This vintage

was not the first to offer these essential features, the

collector’s item bears the “Underwood” brand, “Universal”

Daugherty was in 1893 (seen in this collection), but it

model which was released in 1939. Deprived of its

was by far the better engineered machine.”

practical function, this portable typewriter with a case still aesthetically fits to any individual who is into collection of

Inapt for use.

such kind or related items. Underwood typewriters were well-regarded particularly in the 20th century. Quoting

PHP 35,000.00

Martin Howard, a vintage typewriter collector who gave a fitting remark of the brand: “The Underwood typewriter

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034 Fiat 500 Car Frontlight Lamps 55 x 119 cm.

Reinventing its utility, a vintage Fiat 115 car L1971 model’s front light is transformed into a sophisticated wall lamp, dated mid 20th century from Italy. Carrying plate number 000025 RH and coated in medium red colour, this modern piece is a classic Cinquecento or Fiat 500 as known in Italy. Fiat 500 is regarded as “people’s car” produced between 1957 and 1975. The model was designed by Dante Giacosa. The cars are well-known for their convenient chrome front lights; thus, explained why this piece is well-conserved.

Original certification in Italian is included with this piece.

Stable.

PHP 200,000.00

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035 Middle Eastern Carpet 266 x 192 cm.

A 20th century carpet from the Middle East. This oriental textile is made of wool, a type of soft and light fiber which can be acquired from sheep, goats and rabbits. It bears florid polychrome detail of geometric patterns, plant and floral motifs. Such art style is adherent to the cultural distinction of Islamic Art which bars the use of human and animal figures in works of art. As for its function, the piece is dedicated for religious functions such as prayer and worship.

Stable.

PHP 110,000.00

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036 Saraband Persian Carpet 310 x 232 cm.

A 20th century Saraband Persian carpet, made of interwoven cotton and wool from Iran. The piece prides its geometric, floral, and vegetal motifs, which are drawn by cold colours over its predominantly ecru surface. Its intricate and vivaciously repetitive floral motif alludes to the second mode of Islamic artistic expression. That is, the floral elements are representative of the feminine nature of life giving. Given the appearance of a continuous flow, these intricacies give an impression of a larger abstraction of world order. It should be noted that Islamic art discourages any realistic depictions of humans and animals alike.

Stable.

PHP 150,000.00

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037 Untitled 58 x 41 cm.

A 20th century artwork painted via gouache on paper. It is dated specifically 1974 and bears the artist’s signature. This genre painting depicts a scene of three individuals situated along a street or an alley. The setting seems to be European, Italy probably, based on the architectural landscape and attributing to the artist’s surname “Zama.” Here, the figures are presented having an afternoon conversation while doing a cloth-related activity to be productive and make time pass. The piece is enclosed in a gilt frame.

Generally stable.

PHP 150,000.00

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038 Feira - Caldas da Rainha 51 x 73.5 cm.

Colorful and lively are what dominates one’s recollection of the everyday market in Caldas da Rainha, Portugal’s well-known section should one wish to purchase fruits and vegetables. A daily fruit market is held every

da Fruta. Thus, in this art-piece, a series of stalls selling various kinds of fruit and vegetable can be found under the broad daylight. Such brilliance of noontime enables the artist to capture the moment in all its intricacies, from every fold of people’s clothes, up to the textures of the surrounding, as well as the variegated tones of each

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“Rey Santos” and dated 2009. Rey Santos is the pseudonym of Manuel Guimarães dos Santos Reys (1921 – 2012), a prolific painter from Portugal. The

morning up to 1 o’clock in the afternoon at the Praça

commodity, amongst others.

This piece is an oil painting on platex signed

artist is well-known for his warm palette and his farlooking panoramic view, especially when it comes to landscapes. His landscapes are usually peoples, so to keep the scenery alive and active.

Generally stable.

PHP 110,000.00

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039 Untitled 178 x 119 cm. (without frame); 185 x 125 cm. (with frame)

Exemplifying the spirit and form of the Baroque

Age of Exploration/Discovery which transpired

tradition, this work of art strikingly illustrates a

as early as the 15th century until the 17th

scene of a European conquistador surrounded by

century. Such event, in the annals of history, was

angelic and divine beings. Here, the conquistador

attributed to various agendas/goals but mainly

is presented with an image of a monarch by two

pressed for the religious cause, prominence, and

angels. It is worthy to note that one of the angels

socio-economic reasons. The painting bears the

is holding a torch. Behind the man is another

signature of the artist which reads “Paganni.� Of

figure that seems to persuade him to focus on the

Portuguese provenance, dated between the 18th

portrait. Below the hovering angels, two cherubs

and 19th century.

are portrayed attending to the man’s headgear and shield. Situated at the upper portion of the canvas

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are two divine beings whose gazes are directed toward the central subject. Associating these

PHP 450,000.00

characters and elements, it reminds one of the

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040 Untitled 126 x 102 cm.

Romantically appealing is this piece, which is dated 1945

Placing the subject in an outdoor setting exemplifies

and signed Snaidr. An oil painting on canvas which depicts

the use of en plein air technique, an approach the

a scenery with people in the traditional or folk costume

artist must have learned under the influence of

in MezőkÜvesd, northern Hungary. The piece is primarily

Eastern European or Russian impressionism. Another

dominated by the warmer tone of green grassfield where

technique used is stippling, which is apparent in the

the peoples sit, which seems during a festive celebration.

dot-like strokes on illustrating the leaves and grass.

Aerial perspective is also observed in the background;

Central to this painting is a young man in his knee while

hence it balances the dynamic foreground.

greeting a sitting lady. Behind them are their townspeople wearing the same attire and enjoying the blissful moment.

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At a distant is a small church, which signifies the relationship of festivities with religion.

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041 Still Life 51 x 68 cm.

Painted between the late 19th and mid 20th century,

Alberto De Souza, the artist, was a Lisbon native, born in

of Portuguese provenance. The artwork beautifully

1880. He prided himself as a watercolorist, illustrator and

illustrates a still life subject with watercolor as the

designer, and mentored by 19th century artists Nicola

medium and done on paper. The background is dissected

Bigaglia and Manuel de Macedo (“Alberto Augusto de

by two very different hues—blue-gray and russet—

Sousa,” 2010). Souza worked with several newspaper

wherein the former appears to be a clothed table. Of

institutions in Portugal and later on, along with his

which, several things are emplaced such as a pair of

colleagues, established a publication—the “Portuguese

ladies’ gloves, bunch of hibiscus and roses in a white vase

Earth.” A posthumous homage through an exhibition

and spread on the table, letters, and a framed portrait

was given to him by the Alentejo Philatelic Association

of a gentleman. Associating and reading these elements

and the Municipal Museum of Estremoz after Souza’s

at hand provide a romantic narrative of two individuals

family donated some of the artist’s works.

who must have inspired the artist or his account itself as the motivation.

Stable.

PHP 120,000.00

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042 Still Life 17 x 21 cm.

A still life painting with shellfish and lemons, this piece is done in watercolour on paper which is signed by a Portuguese painter Beatriz Campos (1916 – 2009). The work at hand is dated 1947, and it represents one of her works after the Second World War. The subject depicts a lobster, side by side with oysters; and lemons enhance the aroma of these delightful delicacies. Truly impressive is the powdery texture that painting this piece achieved. It gives a distinctive impression of a sand, which appears to be slowly devoured by tints of indigo and mauve corner.

Such composition reminisces the Iberian-Mediterranean spirit that enfolds the aesthetics of this piece.

Generally stable.

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043 Untitled 56.5 x 76 cm.

Of Portuguese origin, dated 20th century . This oil on wood painting illustrates a zoomed image of fish gutting or cleaning. Predominant element here is the besugo, or blackspot seabream, of which is an edible fish distributed mainly in the Atlantic and Mediterranean Sea. It is worthy to note how the artist successfully utilized the magnified approach of presentation as well as the interplay of light and dark contrasts to emphasize the subject and add ingenuity to this piece. The artist also used the border as an extension of the original working surface. It was completed in 1992 as evident to the text situated at the right portion of the painting.

Generally stable.

PHP 120,000.00

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044 Untitled 120 x 100 cm.

Sensuality as the pervading essence of the piece, this painting is a mixed media on canvas, signed “Capote� and dated 2002.

Dominating the picture is the overlapping of gold leaf implements and ultramarine blue. Of which, its central figure represents a pair of ballet dancers in adagio, or slow phase section of pax de deux.

The pair are in synchronized posture that is partly bent toward their left, while they both raise their right extremities in the air.

This formation projects various angles that creates a sense of suave movement, which makes the ballet dancers appear light in weight.

The synchronicity of their movement corresponds to the similarity in their facial expressions, which suggest as strong sense of bliss.

Too sensuously depicted, the work incites an imaginative mind to ponder on other possible implications on the subject’s provocative engagement.

Generally stable.

PHP 230,000.00

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045 Cristo de Perto 97 x 67 cm.

Modernist in form, the painting conforms to the style and variation of the 21st century art. It depicts an image of Christ with a crown of thorns on his head. Despite the agonizing picture the artist intends to project, she utilized a set of vibrant hues to create a different appeal to its perceiver. Such presentation deviates to the traditional portrayal of a crucified Christ.

Prominent technique too is the use of varying color shades to achieve depth and contrast. The piece is signed by the Portuguese artist herself, Filipa Cunha.

Generally stable.

PHP 280,000.00

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046 Untitled 50 x 50 cm.

Metal rod over a charcoal rectangle, over a cracked ecru

Her collage work resonates one of the wings of cubism,

square, beset with tones of red, brown, ever green, and

that is, synthetic cubism. Cubism is a prominent art

different shades of grey and blue tiles with pastel crosses,

movement and style in the early 20th century, especially

and pale green tints, imposed with arrow in chalk, by the

painting, where the then-predominantly single

side – all inside a 50 by 50 cm wood panel of a collage

perspective of frontality is dismantled by covering nearly

work, by a painter and Art Professor Isabel Sabino.

almost every facet of a subject. But as synthetic cubism differs from its mother, this side of cubism practices

Born 1955 in Lisbon, Portugal, Isabel Sabino is a known

collage. It is an attempt to dislodge a three-dimensional

painter and professor of fine arts in Universidade de

space into a flattened single plane.

Lisboa. She completed her graduate degree in Painting at Lisbon Superior School of Fine Arts in 1978 and

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became an art teacher since 1976. At present, she is also a correspondent member of Portugal’s Academia Nacional

PHP 120,000.00

de Belas Artes.

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047 Light 50 x 40 cm.

Entitled “Light,” this modernist artwork is painted on canvas, with oil as its medium. It depicts an arcade (succession of arches) on the left, two rectangular passages on the right, and a human figure donning a bird-like beak mask at the corridor’s end. The latter brings back to our memory the “plague doctor’s mask” of the 17th century Europe. However, referring to the title of this particular work, it emphasizes “illumination” of enclosed spaces, literally and figuratively, as well as the ostracised condition “darkness” can bring.

Born in 1951 at Riomeão, Santa Maria da Feira, Alfredo Luz’s works incorporate and exemplify magical realism, abstract and neo-figurative art style. He acquired his education and formal training at the Curso de Artes Decorativas da Escola António Arroio in Portugal. Luz’s credentials speak of numerous individual and group exhibitions, with 1980 as his first at Salões de Outono do Casino Estoril and at Galeria Ikon in 2013 as his most recent (see alfredoluz.com).

Stable.

PHP 180,000.00

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048 appeal. That is, as an erotic piece, it generates a sense

Untitled

of ambiguity as to her sexuality. Hence, such a seemly

135 x 102 cm.

androgynous composition shakes the innate curiosity of the viewer to ascertain her identity.

“Single is the new sexy” – seemly too cliché, but perfectly captures the subject in its solitude.

The enveloping bold and heavy brushstrokes in black emphasize, through contrast, her pale centrality in this

An acrylic painting on canvas is cast with a monochromatic

piece. The smudges of black paint invoke the idea of one’s

appeal, as the piece is a confluence of black and white,

experience compared to writings on a tabula rasa (lit.,

which dates back to 1994. It depicts a back of a nude figure,

blank slate). Yet, limiting her past to mere “black-and-white”

with her head resting on her raised right arm. While her

disables the viewer to truly appreciate and realize what her

left arm seemly embraces her bosom, her hips and derrière

identity could actually be.

furnish a partly fuller shape.

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Yet, in all, the subject prides her slim figure, as much as her brunette bob hair cut, which also gives her a mysterious

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049 Project Insect II 180 x 149.5 cm.

Painted by the Portuguese artist, Miguel Telles

A freelance painter, Miguel Telles da Gama started his

da Gama (b. 1965). The piece is dated 1994 and

career in 1990 by conducting an exhibition at the New

was done via mixed media on canvas. Modern in

Century Gallery. He has done numerous exhibitions

contextualization, surrealist in form, it features an

within and outside Portugal—Porto, Cascais, Madrid,

anterior view of a honeybee with its abdomen and

Macao and Chile to name a few. Some of his works

stinger closely resembles a syringe. The subject which is

are spread on various museums and private collections

a fusion of both living and non-living things occupies

such as Museum of Lisbon, Manuel de Brito

the center of the canvas. It can also be observed the

Collection, and PLMJ Foundation Collection.

techniques of splashing and dripping to create a watery effect surrounding the subject.

Stable.

PHP 230,000.00

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050 Nanny with Children 140 x 120 cm.

Playfully mixed warm and cold colors, this acrylic

Nannies played an important role in the social

painting on canvas piece is a recent work signed

history of the family, as they assumed the hands-on

“BETH� by Portuguese painter Elizabeth Leite

roles in child rearing (K. Holden, The Shadow of

(born in 1982) and is dated back to 2007. The

Marriage, 2007). This enabled the mothers in the

artwork illustrates an indoor scene which centres

past to have more quality time with their children,

on a sitting old woman in apron, who appears like

such as playing games, helping with homework,

a nanny. Right before her is a couple of dead rats

and going on outings. Historians of the family

lying on the floor beside a wooden rod. By her

urge a recounting to these roles nannies have also

left is a girl in pink, squatting as she faces back

contributed to societal development, with which

and plays with thing on floor. Another child, a

this painting reminds its audience of.

boy wearing a pacifier, sits with a hound behind the nanny. Another dog, that is, a Saint-Bernard, is

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standing on the right side of the old nanny.

PHP 230,000.00

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051 Untitled 90 x 150 cm.

Illustrating the beauty of Venice and a sight of the Venetian lifestyle prior to the advent of 20th century. The piece is a fine example of plein-air painting and utilized a realist mode of presentation. Portrayed here are two groups of people who are enjoying the impressive scenery of the place. Riding the gondola is a family of three wherein the child is depicted to be amused with a flock of birds. From afar, the Rialto Bridge is visible and surrounded by magnificent architectural structures which the city prides itself.

Dated between the 18th and 19th century, this work of art has an Italian provenance.

Generally stable.

PHP 200,000.00

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052 Sintra Antiga 100 x 150 cm.

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A reconstruction in its fullness, concreteness, and complexity, this piece is an oil painting on canvas titled “Sintra Antiga” by a contemporary Portuguese artist Almeida Coval and is dated December 2011. The artist based this revivalism of Sintra’s ancient glory on the lithography originally designed by William Bunnett (1830-1837) – regarded as the most comprehensive primary source about the place in visual form.

The artist faithfully recreated the scenery, its figures and landscape, but it is further livened by colors. The warm palette governs the picture as it is framed in an afternoon setting. The vermillion tones devour the cobalt skies and purple mountains that are both covered by suavely painted pale cumulus clouds. The strong lighting on the left side amplifies the warmth of telhados vermelhos; hence, giving a sense of nostalgia. The left side beautifully delineates the Esguicho Manuelino, the celebrated fountain in the Praça do Mercado of the old Sintra. Nonetheless, the artist infused a little play of imagination with a seemly floating palace at the top of the mountains.

Being based in Sintra himself, Almeida Coval regards the place as “Paradise on Earth.” Almeida was born in the locality of Coval, north of Portugal. Having a mother of Mediterranean decent and a father from northern European region, Almeida is a person of mixed cultures with sensibility for tranquil life. Most of his works explore the beauty of such Paradise.

Generally stable.

PHP 180,000.00

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053 Untitled 110 x 159.5 cm.

Painted between the 18th and 19th century, from Portugal. The portrait interestingly shows a scene of two Portuguese soldiers who bravely confront a huge mythological sea creature with a hybrid form. Behind the two men is the port of Barra, a community situated along the coast and faces the North Atlantic Ocean. Such image illustrates the rich cultural history of this place, specifically on myths, legends, or oral traditions. An inscription positioned at the bottom of the canvas reads: “RETRATO DE HVM MONSTRO MARIÑÑO QVE APARECEO NA BARRA DO PORTO DA CIDADE DE LX ...”

Generally stable.

PHP 150,000.00

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054 Pair of Garden Tile Stools 45 x 29 cm.

Pair

This pair of garden tile seats from Portugal is made of blue and yellow colored tiles over a wooden framework. Although the pair is crafted in the early 20th century, the azulejo tiles used in these pieces were traced back to the 17th century period. The centuries-old azulejos carry interlacing curvilinear foliate motifs which give the artifacts their cobalt and yellow tones over a white background.

The legs of these seats have castors.

With minimal defect.

PHP 150,000.00

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055

for centuries. The European engagement in the Silk Route, importation of ceramics from Northeast Asia,

Japoniste Porcelain Vases

and the eventual colonial expansions on the East, would

39 cm.

explain what the Annales historian Marc Bloch called for

Pair

comparative analysis to understand people’s psychology in past societies.

Born with a Japoniste spirit, this pair of porcelain vases is crafted by the historic ceramic factory in Portugal, Vista

Started in 1824, Vista Alegre Manufacture company is

Alegre, and are dated back to the 20th century. Its glazed

known in Europe as Portugal’s Royal Factory, a title which

aesthetics is called japoniste as the pair are inspired by the

it received in 1829 due to its established perfection on

distinguished taste of Imari ware from Japan. Imari style,

porcelain making. It reached its golden age in the late 19th

which originated from Arita (northwest Kyushu) was at

century Portugal.

its height between the mid-17th and early-18th century.

Imari style is dominated by three colours, namely: cobalt,

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vermillion, and ochre. Thus, both pieces exemplify such Oriental beauty, which the Western gaze has coveted

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056 Pair of Imari-Styled Porcelain Vases 110 x 25 cm.

Pair

A pair of large, vividly painted Japanese porcelain vases crafted in the style known as Imari, which originated from Arita, northwestern Kyushu, and is dated back to the 19th century.

Profusely ornated with shades of cobalt blue, rouge-de-fer, and gold, the piece illustrates different aspects of everyday Japanese life, embraced with Oriental foliate and architectonic elements. The body carries a medallion showing a Japanese gentleman entertained by three geishas, or Japanese female entertainers. One of the three geishas massages man at the back, while the other geisha holds a mirror before him and the third geisha raises a lantern right above them all. Another medallion of a bird on bristly trees decorates the neck of the vases.

There are also relief gilt applications, in figures of sitting dogs and reptiles. The vases rest on a carved wooden stands.

Generally stable.

PHP 230,000.00

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057 Eclectic Style Ceramic Vase 57 x 21 cm.

Dated 20th century, of Italian provenance. This white ceramic piece exemplifies exuberance and naturalistic form, however, adheres to no lone art tradition as it is “eclectic.� The entirety of its form is detailed with florid cut designs, of which motifs are typified as floral and leaves. Its monochromatic appearance is accentuated by the gilded surfaces from end to end. Reliefs of two winged cherubs, one holding a torch while the other has flowers, rest on the cover and add splendour to this ceramic work.

Generally stable, but has minimal defects.

PHP 60,000.00

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058 Vintage Ardali Vases 47 x 24 cm.

Pair

A pair of vintage ceramic vases from Ardali in Sardinia, Italy, dated back to the 20th century. The piece is noticeable for its nearly-porcelain white appearance, tinted by contours of floral and vegetal elements that are emphasized as being made relief. The figure of the vases resembles an amphora, yet it differs with the identical female busts on top of each C-scroll handle. At the center of the vessels are polychromatic medallions that feature floral designs. On the pink tinted vase, it primarily depicts daisies in red and purple colours. On the mauve contoured piece, series of roses and jasmins are illustrated.

Generally stable.

PHP 70,000.00

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107

108

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059 Vista Alegre Porcelain Service Set Approx. max.: 42.5 cm.

Qty: 112

A Vista Alegre porcelain set, of Portuguese provenance. This dinner service set is composed of 12 soup dishes, 24 dinner plates, 11 fruit dishes, 12 sweet dishes, two bowls of different sizes, five sleepers, two covilhetes, two different cups, a teapot, a sugar bowl, a lidded jar, a milk vessel, a butter dish, 12 teacups with saucers and seven cups of coffee with saucers. Bearing gilt relief decorations, this set has the brand’s logo number 32 which signifies the date of its production, between 1947 and 1968. Vista Alegre, the brand, was founded in 1824 by Jose Fereira Pinto Basto. It holds the distinction of being one of the leading institutions across Europe in terms of porcelain making.

With minor defects, but generally stable.

PHP 150,000.00

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109

110

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060 Haviland Limoges Porcelain Service Set 42 cm.

Qty: 87

A tested classic through time, this porcelain

Haviland still continues to be known for its

service set is crafted by the globally-known

leadership in the porcelain production for

French porcelain brand, Haviland, and is dated

more than 150 years. This brand of Limoges

back to the 20th century. The set comprises 36

porcelain table wares eventually expanded

dinner plates, 12 dessert plates, 11 sweet dishes,

to also embrace the art of living and decor.

1 tureen with platter, 1 circular bowls, 1 circular

Haviland’s designs are timeless classics, yet

bowl, 1 sauceboat, 1 terrine sauceboat, 1 mustard,

continue to be refined by any emerging new

4 covilhetes and 5 (2 + 2 + 1) beams.

trends.

Haviland was founded by David Haviland when

With minor defects, but generally stable.

he left the United States and opened a factory in Limoges. Due to the firm’s utmost devotion

PHP 130,000.00

toward the perfection of their craft, the name

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111

112

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061 Polychrome Porcelain Plates with Bird Illustrations Diameter: 24 cm.

Qty: 8

An eight-plate set with polychrome bird illustration. It is made of porcelain and traces its provenance in Portugal. The pieces, all identically round and shallow in form, are a limited edition of Philae collection, “Living Jewels of the Rainforest.� Realistic and vibrantly portrayed, the bird figures exhibited here are only eight of the roughly 393 species of psittacines, commonly known as parrots. Typically domesticated to become adorable pets, they are considered as one of the cleverest creatures and regarded for their ability to mimic sounds.

Generally stable.

PHP 50,000.00

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113

114

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062 Pair of White Swans 30 x 42 cm.

Pair

A pair of white swans in glazed ceramic figurines which

Nove. He and his father jointly opened a ceramic factory

is crafted from the town of Nove and is dated 1860.

name “GB Zen & Son.” When he inherited the factory and

Shimmering with their glazed surface, these pieces pride

ventured with Demetrio Primon, they renamed it “A. Zen

their luring bowing necks. The swans were textured with

Ceramics.”

the relief of feathers across their bodies, wings, and tails.

Affixed is a cast of flower by its sides. And giving a realistic

Antonio Zen was appointed as mayor of the town of Nove

appeal, the swans are designed with their feet partly

in 1914. And by 1930s his ceramic factory has grown into

conspicuous at their bases.

exporting to the Americas. This led to his unprecedented fame, with his works exhibited in many exhibitions in Italy,

These pieces are marked “Nove Z.A. dal 1860 Italia

Padua, Milan, Barcelona, as well as in other parts of the

Lavorarione a mano.” These pieces specifically are crafted by

globe (see Äntonio Zen,” in archivoceramica.com).

hand by the renowned Antonio Zen. A son to a Venetian ceramist Giovanni Battista and a native of Nove (a town

Generally stable.

near Venice), Antonio Zen was born in 1871. He was schooled at the Academy of Fine Arts in Venice and in

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PHP 50,000.00

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115

063 Pair of Dragon Flowerpots 26 cm.

Pair

Manufactured in Caldas, a Portuguese city famed for its rich tradition on ceramic pottery, this pair of flowerpots is identified to be of early 20th century derivation. It is attributed to Fábrica de Faianças Artísticas Bordallo Pinheiro, a ceramic factory founded by the Portuguese caricaturist Raphael Bordallo Pinheiro in 1884. The two glazed ceramic figures represent a mythological hybrid creature featuring morphological characteristics of a lion, a dragon, and a goat. Adorably looking, they carry relief designs and dominated by the chromatic pairing of jade green and ivory.

Generally stable. With signs of previous restoration.

PHP 90,000.00

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064 Fidalga e Fidalgo 50 cm.

Pair

Illustrating the exquisiteness of Vieux Paris (Old Paris) porcelain which thrived between 17th and 19th century.

With profusely vivid hues and gold embellishment, this pair of porcelain craft is dated 19th century. It features two French figures, seemingly a couple, in regal dresses hinting their noble status. Such claim is reinforced by the pieces’ very label, “Fidalga e Fidalgo,” which terms are derived from the Portuguese/Galician lexemes filho de algo (i.e. nobleman). Floral and stylized leaf motifs dominate the entirety of these objects which culminate at their bases, reflecting the Rococo Revival tradition.

With minor defect. Signs of previous restoration..

PHP 80,000.00

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117

118

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065 Two Children Reading on a Chair 53 x 24 cm.

This piece is an alabaster sculpture of two reading children on a chair from Italy and is dated back to the late 19th to early 20th century. The whiteness of the material stresses the ideal of children’s innocence and purity of conscience. Such purity incites children’s curiosity to learn about things, which inspires them to read and study. The smooth surface renders a perception of care and tenderness, especially as the pair appears to be siblings to each other. One willingly teaches the other with the book. The other guides their reading in order for both to stride further and soar high with greater knowledge.

Generally stable.

PHP 180,000.00

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066 Pieta 75 x 36 cm.

An 18th to 19th century wood sculpture of Mary and Jesus Christ, from Portugal. In this work, Mary is portrayed with the dead body of Christ on her lap. Such depiction pays tribute to the notable Christian art image—Pieta. Of which it represents an incomparable care and love of a mother toward her own son. The piece is made of polychrome wood and serves as a fine example of Indo-Portuguese creation.

With defects.

PHP 230,000.00

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121

122

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067 Saint Michael the Archangel 121 cm.

An impressive polychrome wood sculpture with silver applications of San Miguel Arcangel. It has a South American provenance and dated 20th century. San Miguel, in Christianity, is known as the archangel who combated Satan and entitled with the rank of “archangel.� In this piece, San Miguel is portrayed footing on the clouds, dressed in Roman robes, and wearing sandals. His right hand clutches a sword while the left has the balance of souls. Except for the main figure itself which is made of wood, the hat, sword, scale, armor, sandals and wing applications are all made of silver.

Stable.

PHP 280,000.00

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123

068 Female Torso 100 x 100 cm.

An erotogenic marble sculpture of a nude feminine crafted by JoĂŁo Sotero, a contemporary artist from Portugal.

Born in the Azores island of Terceira in 1961, Joao Sotero has his artistic talent precociously developed.

At a very young age, he was awarded 1st prize and an honourable mention by joining national panting competitions between 1967 and 1968. By 1982, he focused on sculpture. Eventually, he further

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focused his works and research in stone as he became an affiliate to the Department of Sculpture in Stone at the Evora Cultural Center, from 1989 to 1999. Also Sotero held scenographic works for theatre in 1995. From 2009 to 2010, he started the project LoboMau in Arraiolos. On this same site he currently works in his own atelier.

The voluptuous figure is made more enticing by the combination of two classic colors of marble. The torso is made of a dark gray marble piece tinted with white veins throughout. It rests above a white marble slab graced with ecru and vermillion toned veins. Such corpus exhibits the hour-glass shaped figure, coupled with the fullness of her bosom.

Generally stable, but with very minimal defect.

PHP 230,000.00

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125

126

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127

128

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069 Vintage Louis Vuitton Luggage 47 x 70 cm.

A timeless classic. This vintage luggage is fashioned by one of the world’s leading fashion houses, Louis Vuitton, and is dated from mid-20th century period.

Founded in France, the signature brand had its birth on the Rue Neuve des Capucines in Paris. Vuitton became popular in the 19th century Parisian life as he introduced his flat-bottom trunks with trianon canvas. This made his design more competitive vis-a-vis rounded-top trunks, which were difficult to be stacked.

With its successive exposures in the international scene – by joining 1867 Universal Exhibition in Paris, 1893 Chicago Fair, and opening stores in other parts of Europe and United States, and eventually across the globe – Louis Vuitton achieved unparalleled success. LV, as popularly known, was named the world’s most valuable luxury brand for six consecutive years, that is, from 2006 to 2012.

With signs of use.

PHP 70,000.00

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129

130

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070 Replica of Nau 93 cm.

A mini replica of a nau (also spelled nao), of which is a Portuguese term for a large, multi-decked sailing ship. This water vessel was a “beast of burden” for its immense loading capacity for transporting goods and people across continents from the 15th until the 19th century (Vaucher, 2014). Such ships were historically-connected with the Philippines since the pre-colonial period and would culminate in the Manila-Acapulco Galleon Trade (1565 – 1815). Nao’s architectural built is characterized by rounded hull (stern section), a prominent forecastle, and a superstructure of an aft (“Carrack or Nao,” n.d.).

Furthermore, it has three to four masts which are the foremast, the mainmast and the mizzenmast, making it fitting for long-distance maritime navigation. As for this 20th century piece, it is made of wood and ingeniously constructed with the use of matches.

With faults and defects.

PHP 50,000.00

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131

132

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071 Vintage Toy Collection of Medieval Knights 4.2 x 3.6 cm.

Set of 63

An early 20th century vintage toy collection from Germany

Such a broad ranging collection entices a mediaevalist as well

comprises 63 knights from different historical periods

as enthusiast of global history to put the fate of these soldiers

and cultures proudly wearing their armours and coats

upon their hands and see what possibilities would come

of arms. These vivaciously shining armoured figures are

when dividing temporalities and spaces are suspended. That

representations of warriors from civilizations of Mongolia,

is, either grouping these ethno-culturally variegated soldiers

Africa, Ottoman Empire, French, Germanic, and other

under one force or placing them against one another.

European kingdoms, as well as crusaders, Knights Templar, and other chivalric movements in history. Enormous amount

Undoubtedly, this is a type of collection that is both

of attention to historical accuracy of details is given.

entertaining and educational.

Carefully gathered by its erstwhile proprietor, this set is

Generally stable, but with very minimal defect.

willing to make its next owner the sole to posses such rare collection. As it will be hard to find another collection of

PHP 550,000.00

same features, material, quality, and antiquity.

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133

134

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135

136

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137

138

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072 Zanchi Chandelier 145 x 195 cm.

With crystalline and florid ornamentation, this exquisitely manufactured crystal chandelier is made from the Zanchi Factory in Murano, Venice.

The piece is dated in the 20th century and is crafted through glassblowing technique. The latter is a tradition on glassmaking that the craftsmen and women of Murano have perfected through centuries. The clarion pineapple – patterned crystals radiate a sense of luxury in its presentation.

Generally stable, but with very minimal defect.

PHP 400,000.00

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139

140

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073 French Pendant Crystal Chandelier 87 x 44 cm.

A classic French pendant crystal chandelier in

Deco movement. The central cut ball as pendulum

the Empire style, which is dated back to the early

at its axis, as well as the accents of blue-tinted

20th century. Such as vintage piece, this chandelier

glasses, embolden the chandelier’s sophisticated

reflects a transitional taste as to a lighting experience.

presentation.

Transitional stands as a middle ground between the traditional and modern types of lights. A piece like

Dominated by the taste of classic French Empire

this fits to any interior styles as it tends to blend

style, the cuts of the crystal glasses rendered the piece

and complement with either the old or the new.

its modernist appeal.

Given the confluence of various elements, such as tear-shapes, octagon, and quasi-pendeloque as to

Stable.

the crystal glasses shapes, this pieces can be dated circa 1940s, which was the heightened period of Art

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PHP 120,000.00

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141

074 Chinoiserie Opaline Plate 38 cm.

Carrying oriental styled relief of a phoenix, this opaline glass plate is dated back to early to mid 20th century. The opaline effect in this piece was achieved through adding to the batch of glass materials some calcine bone ashes (Miler, Antiques Encyclopedia, 2008, p. 286). Thus, the relief elements of waves, curls, flowers,and the mythical creature appear in milky effect, which emphasizes its interesting detail. Oriental elements captivated the focus of European gaze in many centuries of intercultural contact between the Western and Eastern civilizations.

The inspiration for the depiction of the bird relief appears to be the Eastern phoenix or Fenghuang.

Stable.

PHP 50,000.00

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075 Opaline Vase 19.5 x 19 cm.

Dated 20th century, of English provenance. This jar is made of molded, semi-translucent milk glass, a type of glassware which usually refers to glasses with opaque white color. It distinctly bears roses reliefs as its exclusive motif which is situated around the piece’s mid-part and base.

Production and use of milk glasses can be traced back to several ancient world civilizations such as the Chinese, Egyptian, Persian, and even Venetian (Hurley, n.d.). During the 19th century, mass production of these highly sought items commenced, in effect, increasing milk glasses popularity in the Victorian era as well as post-World War II ( Lyon, 2016).

Some of the known institutions that manufacture milk glasses include Fenton Glass Company, Westmoreland Glass Company, Mosser Glass, Fostoria Glass Company, and Imperial Glass Company.

Stable.

PHP 70,000.00

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143

076 D. Maria Style Mirror 170 x 76 cm.

An 18th century elliptical mirror profusely crafted with elements that adheres to the grandeur of Neoclassical tradition. Portuguese in provenance, this piece is enclosed in a gilt wooden frame. Though from the Iberian Peninsula, it strongly projects the French influence, specifically of King Louis XVI style, as evident to the motifs it bears: garlands, geometric figures, acanthus leaves, twisted ribbon, and fluted column. While majority of its ornamentations point to French Neoclassicism, which could trick its perceiver of its origin, the pinecone finial hints those with critical eye on the arts as to its accurate source.

Minor faults and defects.

PHP 120,000.00

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077 Louis XV Style Mirror 85 x 48 cm.

Following the style of King Louis XV dated between the 19th and 20th century. The arched glass mirror, of French derivative, is enclosed in a wooden frame, gessoed and gilded. It is profusely detailed with fine carvings, hence, creating bas reliefs of naturalistic foliages and floral motifs. Such elegance conveys the social importance of women as well as their cultural influence in terms of style and development of architectural elements. Since the 18th century, mirrors had become an indispensable object at homes whether for practical use or decoration.

With minor defect. Signs of previous restoration.

PHP 130,000.00

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145

146

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078 Neoclassical Crystal Glass Wine Cooler 38 x 22 cm.

An early 20th century crystal glass urn from France is embellished with vegetal motifs drawn from the Neoclassical style. The decoration of acanthus foliages on the frieze and base, as well as the ribbings at the lower section of the vessel speaks of the neoclassic taste imbued in this crystal piece. Its wide mouth and relief of vine leaves and grapes throughout the urn-shaped crystal vessel’s body indicate the piece serves as a wine cooler. It rests over a square shaped base.

Stable.

PHP 90,000.00

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147

148

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079 Vista Alegre Glass Service Set Bottle: 34 cm.

Qty: 52

A 19th century glass service set, of Portuguese provenance. It is composed of four bottles, 12 flutes, 12 low cups and 24 stem glasses which all have sophisticated floral and diamond reliefs. This exquisitely crafted set is attributed to Fabrica de Porcelana Vista Alegre, Portugal’s renowned institution of quality porcelain and crystal production. Founded in 1815, Vista Alegre holds the distinction of being a “Royal Factory” which was conferred to them by King D. João VI. The institution still thrives and maintains its position as one of the leading porcelain manufacturers within and outside Portugal.

With defect.

PHP 90,000.00

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149

080 Italian Chess Game with Board 43 x 43 cm.

Known sport for developing the mightiest part of a person, which is the mind.

This elegant set of Art Deco chess board and pieces are made of acrylic glass in dual colors with brass metal applications. Such a luxurious looking artefact is traced back from Italy and is dated between the 1930s and 40s. Art Deco style is notable for its mechanical view of social processes

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and structure as reflected by the form of aesthetics that dominates the art-scene and objects of utility during its time. Thus, it explains the reduction of the chess pieces into simplified, geometric equivalents.

Made of acrylic glass, this piece is an artefact of the material’s initial applications.

Although it was already developed in 1877 by German chemist Fittig and Paul, acrylic glass (or polymethyl methacrylate) was only opened for commercial use since 1936 under the name Plexiglass by another German chemist Otto Röhm (see J. Schwarcz, The Right Chemistry, 2012, p. 226).

While chess was only recognized as a sport in the 21st century, its history dates back its development to chaturanga, a board game from India’s Gupta Empire in the 6th century.

From Gupta, it is adopted in Sassanid Persia in the 7th century, which bridged the board game to the mediaeval Europe.

Stable.

PHP 50,000.00

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151

152

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081 Lalique Frosted Crystal Vase 24.5 cm.

Produced by the renowned and foremost French institution in terms of glass art, Lalique. The latter was founded in 1888 by René Lalique himself who was celebrated for his supreme glass creations. This item of luxury and sophistication is a frosted crystal vase with reliefs of female figures. In Roman mythology, these women are identified as devotees or “priestesses” of Bacchus, the god of wine making, grape harvest and even fertility. They are usually depicted as “mad women” as an association of their frenzied dance rituals to honor the aforesaid Roman god.

Stable.

PHP 180,000.00

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153

154

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155

156

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082 Italian Charm Bracelet 24 cm.; 92.6 grams

An Italian charm bracelet dated between the 20th and 21st century. This magnificent personal adornment is

back from the Neolithic Period wherein such

primarily made of 18 karat gold, has a length of 23.5

objects had carried religious purpose and as prestige

centimeters and weighs 92.4 grams. Its gold chain

goods. This importance of charmbracelet was also

serves as links for the three large exquisitely-crafted

observed in the early world civilizations like the

trinklets attached onto it. These trinkets or “charms”

Persians, Babylonians, Hittites, even the Romans

are carrying the form of Kingdom of Italy’s (1861-

and the Greeks. During the reign of Queen Victoria,

1946) crown emblem and oval figures with filigree

a “renaissance of charms” had transpired which

embellishment. Furthermore, it is studded with semiprecious stones which include amethysts, aquamarines, and turquoises.

The concept and use of charm bracelets stretches

branded an image of luxury associated to these items (Hague, n.d.).

Generally stable.

PHP 180,000.00

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157

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083 Cross of Commander of the Order of Christ 10 x 4.5 cm.; 51 grams

One of the historical treasures in this auction.

This insignia represents the commander in the Military Order of Christ, the reconstituted order of the Knights

Distinguished for its grandiose decorations, this

Templar in Portugal, founded in 1319 under the

insignia represents the Cross of Commander of the

protection of Portuguese King Denis I. Denis I largely

Order of Christ in silver and silver gilt metal, which

pursued the revival of this order due to their aid during

dates back between the 18th and 19th century. The

the Reconquista.

piece is elaborately studded with garnets and “minasnovas�stones. On top of the cross is an interwoven

Generally stable.

detail of lace and vegetal elements, which envelops the figure of the Sacred Heart of Jesus glazed in

PHP 230,000.00

rouge, gold, and green.

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159

160

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084 Demi Parure Gold Jewelry Set Necklace: 40 cm.; Earrings: 3.5 cm.; 52 grams

A matching jewelry set of a necklace and a pair of earrings made of 21 karat gold. Of which has a weight of 52 grams and with several semi-precious stones ornamenting the set’s entirety. It is intricately detailed with cut designs and floral motifs. The necklace is structured in a twisted form and graced by three dangling teardrop-shaped pendants. Dated between the 19th and 20th century, the set can be classified as a “demi parure,” a term derived from the Old French verb “to adorn” (“Costume Jewelry Parure,” n.d.). It refers to pieces of matching jewelry which is composed only of “earrings plus a necklace, brooch, or bracelet.” Such jewelry trend has its historical origin in France in the mid-17th century.

Generally stable.

PHP 110,000.00

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161

085 Baroque Revival 18 Karat Yellow Gold Pin 3.7 cm.; 9.6 grams

A beautifully crafted vintage pin made of 18 karat yellow gold, styled in Baroque revival and is dated between late 19th to early 20th century from Portugal. This pin also bears a ring on top, which enables it to be changed into a pendant or dangle. The piece is dominated by emboldened relief of acanthus vegetal motif throughout, while it has an affixed rectangular plate, with etched image of a factory, grass, and a tree, complemented by a Georgian blue enamel coating.

Generally stable.

PHP 30,000.00

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086 Chest Pin 6.2 cm.; 19.4 grams

Exquisitely crafted, naturalistic and asymmetrical in form, this silver chest pin adheres to the Art Nouveau style. The piece illustrates a bouquet of flowers and studded with 81 pieces of rose diamonds and two diamonds with a brilliant antique intaglio. It has a total carat weight is 0.20 gram. The lock of this piece is made of 16 karat gold and weighs 3 grams. Its provenance can be traced from Portugal and dated 20th century.

Signs of use.

PHP 90,000.00

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163

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087 Red Topaz on White Gold Ring 2.3 cm.; 4.3 grams

Divinely enticing, this 18 karat white gold lady ring is beautifully studded with 58 pieces of diamonds in double halo formation surrounding a red topaz at the center.

The gold ring carries an inscription: D083 18k HANA. This signifies that the piece is by Hana Jewelry, Inc., founded in 2005 in Weston Florida; while the D083 indicates that the diamond pieces has a total weight of 0.83 carats.

While pure topaz is a colorless stone, red topaz is caused by presence of chromium in lieu of aluminium in its crystalline formation. Topaz is regarded as the November birthstone. It is derived from the Sanskrit word “tapas� meaning heat or fire. As it was believed in ancient lore, topaz endows the ability to control heat, anger, and heal fever.

Generally stable.

PHP 60,000.00

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165

088 Gold Lady Ring with Blue Topaz 2 cm.; 4.2 grams

Typified as a “lady ring� for its feminine form and the sophistication it projects. This fine jewelry of Portuguese provenance is made of 18 karat gold (as signified by its 750 marking) with a weight of 4.2 grams. A blue topaz is emplaced as its center stone, a semi-precious stone which is known for its hardness and high refractive index. Situated at the sides of the center stone to accentuate it are six diamonds, [of] which have a mass 12 carats.

Generally stable.

PHP 15,000.00

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089 18 Karat Art Nouveau Brooch 2.8 cm.; 13 grams

Inspired by the philosophy of nature’s beauty, Art Nouveau artists followed the re-appreciation of the aesthetics of Nature in bringing elegance in their works of art.

Similarly, the jewelry at hand is a late 19th to early 20th century French brooch made of 18 karat gold and various gemstones, all governed by the zeitgeist of Art Nouveau period (1890-1914). The piece is graced with an oval ruby at the center, which prides its craquelures as a testament of its everlasting age. Enfolding this ruby are 6 emerald stones shaped in the form of leaves and acorns that are arranged alternately. It also has 6 globule sapphires placed in between the emeralds. The 18k gold band is gorgeously shaped like flames and thorns embracing each studded stone.

With defect.

PHP 20,000.00

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167

168

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090 Art Deco Brooch 4.5 cm.; 16.9 grams

Inspired by the Art Deco style, this brooch is made of 18 karat white gold with platinum on top. The frontality of such refined piece is profusely ornamented with series of diamonds. Its striking configuration has the following specifications: 16 pieces in round cut, 39 pieces in old cut, two in carre cut, one in baguette, and 48 small in 8/8 cut. These diamonds have a total carat weight of 4.20 g. This lavish and intricate piece has a Portuguese provenance.

Generally stable.

PHP 180,000.00

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169

170

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170

091 18k White Gold Demi-Parure with One Thousand Diamond Studs Earrings: 2.5 cm.; Necklace: 42 cm.; Bracelet: 19 cm.; 46.2 grams

Qty: 4 Divinely beautiful as it is studded with a total of 1,008 pieces of diamonds, this demi-parure of a necklace, pair of earrings, and a bracelet dates back to the 20th century. A timeless classic, the diamond set has been passed to different personalities of different generations. As the diamond is regarded the queen of precious stones, these highly valued pieces have only come upon the hands of ladies of great sophistication.

The necklace is fashioned from 18 karat of white gold, which weighs 46.2g. The 1,008 diamond studs have a total weight of 15 carats.

Generally stable.

PHP 1,000,000.00

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171

172

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092 Peridot on White Gold Ring 2.5 cm.; 8.6 grams

Studded with diamonds and semi-precious stones of varied sizes, this white gold ring with a peridot stone is dated 20th century. The finely crafted ring is made of 18 karat gold and has a weight of 8.6 grams. It is graced by a large center stone identified as peridot, of which is recognized as an “idiochromatic gem.� Peridot, unlike other semi-precious stones, appears only in a single color—that is olive green.

The aforesaid center stone, furthermore, is complemented with a yellow sapphire, five peridot beads, and two red topazes. Adding opulence to this piece are the 154 pieces of diamonds in round cuts, having a total carat weight of 1.40 grams.

Generally stable.

PHP 95,000.00

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173

174

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093 South Sea Pearl Earrings with Diamond Studs 4 cm.; 13 grams Pair

A majestic grace from the South Seas, this pair of

produced by these two countries is golden in colour.

vintage earrings ornated with diamonds and South

The pearls used in the creation of this jewelry are

Sea Pearls is dated back to the 20th century from

from the northwest coast of Australia, specifically at

Portugal. The upper section of the earrings prides a

the city of Broome. Broome instantaneously became

series of diamonds, with a marquise cut in between

the commercial center for these pearls which started

of two round cut diamonds. These diamonds have a

by mid-19th century. And Broome still dominates the

total weight of 3.18 carats.

white South Sea pearl production across the globe.

Dangling at the end is a South Sea pearl, notable for

Generally stable.

its pure silvery white colour. Although the Philippines and Indonesia are globally leading in the finest South

PHP 500,000.00

Sea pearl production, the kind of pearls primarily

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175

176

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094 Waltham Pocket Watch 7.5 x 5.3 cm.; 128.6 grams

A mid-19th to mid-20th century gold pocket watch manufactured in the United States. This antique piece contains black Roman numbers to indicate the hour and Hindu-Arabic numbers in red and small font to specify minutes. Moreover, a chronometer is also an added feature to this device which speaks of its complex but sophisticated configuration. As for its case, the gold is typified as 14 karat and has a weight of 128.6 grams.

The exterior portion is elaborately detailed with stylized reliefs of flowers and foliages. At the center is an engraving which probably alludes to the person who initially owned the piece and the recipient to whom it was given. On its reverse side, etched numbers are emplaced in a V formation which reads: “4 6 7 4 2 1 7.�

Stable.

PHP 180,000.00

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177

095 Set of Platinum Earrings and Ring with Diamonds and Jade Ring: 2 cm.; Earrings: 4.5 cm.; 16.9 grams Qty: 3

178

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A set of a ring and a pair of earrings made of platinum, jade, and diamonds from Portugal which dates back to late 20th century. The set is studded with cabochon jade, as surrounded by 46 pieces of diamonds. Of which, the round ones have a total of 0.36 carats and the 2 rose cuts have a 1.80 total carat weight. These stones are placed on platinum framework with a total weight of 16.9g.

A combination of different precious materials, each component bears cultural significance in various cultures. Aside from being hailed as the queen of gemstones, diamonds are associated with the Roman goddess Venus which would allow the wearer to gain attractiveness and happy married life. Jades are considered a life-essence extracted from dragons, according to Chinese mythology. While in many cultures, platinum is symbolic of exclusivity and prestige, as well as it is prized higher than ever-coveted gold.

This set is fashioned by the renowned jewelry shop in Branca de Britos in Portugal. Branca de Britos is known for its invitation to clients to personalize their jewelry’s design.

Generally stable.

PHP 210,000.00

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179

180

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096 Diamond-Studded Silver Choker and Earring Necklace: 37 cm.; Earrings: 4.5 cm.; 92 grams Qty: 3

Adhering to the Art Nouveau style of the late 19th and early 20th century, this diamond-studded jewelry set is characterized by natural shapes and floral composition.

This set includes a choker and a pair of earrings made of Portuguese silver.

Its floral motif is harmonized with diamonds, a highly-valued gemstone known for its use as an adornment and of its socio-cultural significance.

Here, the pieces are studded with 409 diamonds, all in rose cut, and with a total carat weight of 5 carats. This dazzling set of three is a fine example of exquisiteness of its artist and to whom it is intended to be bestowed.

Stable.

PHP 560,000.00

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181

182

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183

184

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097 Anglo-Indian Sadeli Ivory Box 7 x 29 x 12.3 cm.

This piece is an Anglo-Indian Sadeli box which dates back to the 19th century. It is primarily crafted out of sandalwood embellished with ivory in-lays , combined with various elements of green dye, ebony, pewter, and other woods. As a mark of Sadeli technique, the piece is ornated with micro-mosaic of repeated geometric patterns which manifest as the circular motifs at the panels and borderlines at friezes. The technique of Sadeli creation has a long history that can be traced back to the 16th century Indian and West Asian art. By the 19th century, Sadeli designs became a trend in British elite furniture such as card cases, chess boards, boxes and chests. Due to high demand, Great Britain imported many types of this article from Bombay, its center of production. Thus, Sadeli boxes were also known then as Bombay boxes.

With minor defects. Generally stable.

PHP 75,000.00

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185

186

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098 Pair of Ivory Crocodiles 31.5 cm.; 292 grams Pair

A pair of crocodile ivory figures dated back to the 20th century and has a Portuguese provenance. These carved items are filled with intricate details on its body which resemble the scaled physical feature of reptiles.

Prevalent in tropical regions such as Asia, Africa, Australia, and the Americas, crocodiles have 14 known species distributed around the globe. The Crocodylus mindorensis, one of the identified species of this aquatic animal, is endemic to the Philippines (Bradford, 2014). Mistakenly perceived sometimes as alligator, crocodiles are notably distinct for its long, pointed (V-shaped) noses, as well as prominent interlocking upper and lower teeth when jaws are closed.

Stable.

PHP 90,000.00

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187

188

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099 African Ivory Figures of Rhinoceros 11.5 cm.; 270 grams Pair

A pair of ivory sculptures representing white rhinoceros which dates back to the 19th century from Africa. These ivory figures are product of the animalier movement, especially in the art of sculpture.

It was when artists ventured into animals as subject of their creations, which opposed previous centuries’ standard of humanistic superiority. By which, fascination over making more realistic figures increasingly became the trend. Thus, from plasticity of substances like metal, stones, and plasters, some artists preferred to utilize materials derived from nature, such as ivory.

Notice the difference between the two figures. One is roughened by the texture deliberately ornated over its surface. The other appears polished. The positioning of legs and head in seemly animated posture highlights the lower density of African ivory vs. Asian ivory. Such property made African ivories more suitable for intricate types of craftsmanship.

Stable.

PHP 120,000.00

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189

190

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100 African Ivory Sculpture of Man with a Pipe 14.5 cm.; 1,238 grams

Showing the exceptionality of African culture, the piece is an ivory sculpture of early 20th century derivation. It features a male bust figure, bearded and of old age as seen to his facial morphology. He is portrayed with a pipe in his mouth and wearing a head cloth, canine tooth earrings, and a necklace. Change 4th sentence to: This suggests the subject’s socio-political status in the community as a clan head or a chieftain. Africa is known for being a culturally diverse region.

From an evolutionary perspective, it is considered to be the cradle of human civilization.

Stable.

PHP 90,000.00

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191

in detail

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101 Elephant Tusk with Bas Relief 78 cm.; 2,118 grams

An ivory piece crafted in the early 20th century Africa carries a bas relief on its side. Fashioned with great sophistication, the decorative relief is further given with a panoramic appeal. The artefact illustrates a series of elephants facing alternately left and right. In between these mammals are figures of tall trees, where they seem to feed off their food by using their trunks. All of them were seemly placed within the vastness of woods. Moreover, also remarkable in this work is its artist’s dominantly porous appeal in creating the relief. And even the art-piece is already fashioned to illustrate a series of figures, the tusk’s natural curvature and form are still preserved.

Stable.

PHP 280,000.00

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193

in detail

194 194

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102 Carved Elephant Ivory Tusk 78 cm.; 2,118 grams

A very detailed ivory relief sculpture of an elephant tusk, dated 20th century. This piece shows a herd of elephants in a jungle setting. In between these land mammals are figures of tall trees, where they seem to feed off their food by using their trunks. Such figures were achieved through the bas relief technique. Ivories are considered as one of the most valued medium in the visual arts particularly for the Westerners due to its durability, simplistic elegance and difficulty of acquisition.

Stable.

PHP 290,000.00

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195

196

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103 Indo-Portuguese Jesus Cristo Crucificado Christ 21 cm.; 77 x 57 cm.

A Cristo Crucificado sculpture that adheres to the Baroque style as exemplified by its symmetrically-formed carvings, scroll and acanthus leaves motifs, and gilt wood. The piece dates back to the 17th century of the Gregorian calendar which was highlighted by the emergence and height of Baroque cultural movement as well as the Scientific Revolution. Here, the crucified image of Christ is depicted with a cloth wrapped around his waist and tied forming an overhand knot. The cross was carved out of Palo Santo (Holy Wood), a kind of tree endemic in South America. As its finial, a baldachin or a cloth canopy can be observed as one of its distinct reliefs. Furthermore, a dove surrounded by golden rays represents the Holy Spirit, which also signifies the sanctified persona of Jesus Christ, is placed on the crucifix just above his head.

With minor defects. Generally stable.

PHP 450,000.00

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197

104 Indo-Portuguese Ivory Statue of Madonna and Child 37 cm.

At the height of colonialism, Christianity served as the guiding light of Portuguese Empire. And central to the introduction of Christian faith is the history of salvation, which starts from the birth of Infant Jesus by the Blessed Virgin.

This ivory image of the Madonna and Child bears Indo-Portuguese style, mostly fashioned in Goa, which is dated back to the late 18th century up to early 19th century period. Grotesque faces of the holy image was intended to invoke fear, i.e., “fear of the Lord� or the gift of piety by the Holy Spirit. Her crown symbolizes her importance as the Queen of Heaven; while her left foot which is partly exposed as it rest over an ornated pillow, represents her elevated status amongst all women.

A piece like this represents the tension between the forces of colonizer and colonized, especially when the colonized artists were able to include their

198

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indigenous aesthetics on this primarily foreign figure. This tension can be traced in the following representations.

First, it is noticeable the Virgin carries a heart-shaped fruit on her right hand, where it has a five-pointed star engraved in it. This could represent the starfruit, or carambola. The word was derived from Sanskrit karmaphala and was imported to European discourse through Portuguese colonialism on India.

Carambola is known in India and island Southeast Asia for its spiritual importance. In JavaneseBuddhist tradition, the five points of the fruit represents pancasila (panca, five; sila, attitude).

Pancasila incorporates the five wisdoms of: (a) belief in One God; (b) just humanity; (c) unity; (d) liberty, and; (e) social justice [G.C. Hribar, Educational Project on Indonesia, 1994, p. 35].

The base of the Madonna resembles a rattan cushion, with which rattan was one of the prized commodities from this Asian region. The bottom section of the base is shaped with eight facets, alluding to the incorporation of Buddhist eight-fold path toward spiritual enlightenment. And the presence of bas-relief series of lingams alludes to infusion of a Hindu tradition on the creation of this predominantly European Catholic religious image.

Stable.

PHP 510,000.00

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199

105 Buffalo with Oriental Figures 15 x 30 x 15 cm.

A 20th century ivory sculpture with a silver base, from Portugal. The piece is a testament of the beauty of Oriental culture as exemplified by the two Asian figures on the back of a kneeled buffalo. Adding to

200

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the value of this exquisitely carved piece is its silver base which was crafted and signed by the House of Luiz Ferreira. Aside from the base, the ivory figures here are complemented with silver accentuating further its visual appeal. It carries a Porto assay mark signifying its date of production after 1985.

Luiz Ferreira is the highly celebrated Portuguese sculptor who was established since 1910. His very name became a well-known “signature” for his refined treatment on precious metals and stones. The mixed composition of silver and ivory in this work is corroborated by D. Gonçalves de Vasconcelos e Sousas “A Arte de Luiz Fereira” (2007), which narrates: “His most exotical works combined different materials, which produced a wide variety of colours, for example in creating animals... achieving the most surprisingly beautiful effects” (p. 111).

Every work of Ferreira is a masterpiece. Their individuality is unique to one another, as he never replicates them -- as each object d’art is a luxury of its own.

Stable.

PHP 310,000.00

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201

156 Jupiter cor. Comet Street, Brgy. Bel-Air, Makati City, Metro Manila, Philippines

Terms and Conditions Casa de Memoria (hereinafter, “CDM”) will conduct its business activity in accordance with these Terms and Conditions of Sale and any other terms and conditions that are individually specified. CDM will act as an agent for the sellers of the Lots sold at auction. The seller shall be solely responsible to the buyer for any breach of the contract of sale. However, in instances where CDM owns a Lot, it shall act as seller and the contract of sale will be between CDM and the buyer.

Article 1: Objects

time of the Hammer Price, represented directly or via a third party,

The present Terms and Conditions of Sale regulate the business

in accordance with these Terms and Conditions of Sale.

activity of the company, CDM, and govern and contractual relations established with it. Article II: Definitions In these Terms and Conditions of Sale, the following definitions apply: a. Catalog- All and any of CDM’s advertising, brochures, price lists or any other publications, regardless of their nature. b. Buyer’s Premium- The commission charged on a purchase, calculated as a percentage of the Hammer Price and paid by the Buyer at the Applicable rate. c. Sales Commission- The commission charged on a sale, to be deducted from the Hammer Price and borne by the Seller at the applicable rate. d. Buyer- The person who has presented the highest bid at the

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e. Expenses- The costs incurred by CDM, according to price list, in relation to the sale of any lot, associated with catalog fee, illustrations, publications, advertising, restoration, insurance, packaging, storage and transport, of the lots plus VAT applicable to such Expenses. f. Total Amount Due- The Hammer Price of a sold lot, plus the Buyer’s Premium and any eventual additional charges and expenses due from the Buyer in the event of non-compliance, in accordance with the provisions established in Articles 10 & 11. g. Original Works of Art- Corresponds, under the terms of the Berne Convention & International laws, and The World Intellectual Property Organization Copyright Treaty (“WIPO Copyright Treaty,”) to works of graphic or plastic art, such as pictures, collages, paintings, drawings, engravings, prints,

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lithographs, sculptures, tapestries, ceramics, glassware, and photographs, provided they are made by the artist himself or are copies considered to be original works of art, and should be numbered, signed or in any other manner authorized by him. h. Hammer Price- The price for which a lot has been adjudicated by the auctioneer to the corresponding buyer.

encouraged to personally examine the Lots prior to the sale. c. In accepting bids for Lots, CDM assumes that prospective buyers have undertaken a full inspection of the Lots prior to

bidding and that they have verified the condition of the Lots as well as the descriptions.

i. Amount Due- The net amount owed to the seller, i.e the

d. CDM and the sellers do not provide any guarantee with

Hammer Price of the sold lot minus the Sales Commission at

respect to the Lots sold at auction. Said Lots are sold on an “as is”

the Applicable Rate and the Expenses and any other amounts

basis. All sales are final.

that the seller owes to CDM on any basis, always subject to the addition of VAT at the applicable rate. j. Applicable Rate- The rates that apply to the Sales Commission

Article IV: Descriptions of Property

and Buyer’s Commission, which are practiced and duly

a. Statements made by CDM in the catalogue or website, in

publicized or specified by CDM.

condition reports, or made orally or in writing elsewhere, are

k. Seller- the person or entity that signs an auction sales contract

statements of opinion. Therefore, these statements cannot be

with CDM.

construed or relied on as factual representations, implied or express warranties or assumptions of liability. CDM and the

Article III: Pre-Auction Viewing and Inspection

sellers shall not be liable in any way for errors or omissions in the

a. CDM does not perform a full and complete due diligence audit

catalogues or any supplemental material. Buyers have the duty to

on each Lot. Representations made by CDM about the Lots are

satisfy themselves about the condition of the Lots sold at auction

based on information provided by the sellers. As such, CDM

and the matters referred to in the catalogue entries.

does not guarantee the accuracy of such information. CDM shall

b. References in the catalogue entry or the condition report to

not be liable for any misrepresentation or wrong information

damage or restoration are for guidance only. These references

provided by the sellers with respect to the Lots.

should be evaluated by personal inspection by the bidder or a

Prospective buyers acknowledge these facts and accept their

knowledgeable representative.

responsibility to carry out such investigations and inspections as

c. The absence of any reference to the condition of a Lot does not

may be necessary to satisfy themselves with respect to the Lots in

imply that the Lot is in perfect condition or completely free from

which they may be interested in prior to the sale.

wear and tear, imperfections or the effects of aging. Similarly,

b. The properties to be sold may be inspected by prospective

a reference to particular defects does not imply the absence of

buyers at pre-auction viewings. Prospective buyers are strongly

others.

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d. CDM and the sellers do not make any express or implied warranty or representation of any kind or nature with respect to the merchantability, quality or fitness for certain purposes, the accuracy of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any Lot

Article VI: Admission to the Auction a. CDM has the right at their absolute discretion to refuse to allow prospective buyers admission to or participation in an auction. b. Prior to bidding, all bidders are required to complete and sign registration forms and provide a government issued identification card (e.g., a passport or driver’s license). c. Bidders present at the live auction shall express their interest

sold. e. In making express statements in its catalogue descriptions or condition reports, CDM shall exercise such reasonable care as is consistent with: (1) its role as auctioneer; (2) the information provided by the sellers; (3) scholarship and technical knowledge; and (4) expert opinions as of the date these expert opinions are made.

to participate in the auction by providing CDM with their full credit card details and shall execute an undertaking allowing CDM to charge a ten percent (10%) penalty on the final bid on the aforementioned credit card in the event that the bidder is unable to pay the full purchase price in accordance with the terms and conditions of Section 10. d. Upon completion of the above admission process, CDM shall

Article V: Estimates a. Each Lot in the catalogue is given a low starting bid. This

issue bidding paddles to the bidders.

estimate represents the range which, in the opinion of CDM,

Article VII: Sale and Withdrawal from Sale

represents a fair and probable auction value. This estimate does not

a. Unless otherwise announced by the auctioneer, all bids are per

include the Buyer’s Premium referred to in Section 10 hereunder.

Lot as numbered in the catalogue.

b. Pre-sale estimates are intended only as a guide for prospective

b. CDM reserves the right to withdraw from any sale any of the

buyers and are subject to revision. The actual prices realized for

Lots listed at any time prior to the commencement of bidding

items can also fall below or above the range of these estimates.

for such Lot and shall have no liability whatsoever for such

Thus, an estimate of the selling price should not be relied on as

withdrawal.

a statement that this is the price at which the item will sell or its

c. Unless otherwise indicated, a Lot shall be offered subject to a

value for any other purpose.

minimum price (the “Reserve”). The Reserve shall not exceed the low pre-sale estimate at the time of the auction. As a general rule, the Reserve is agreed upon by CDM and the sellers. CDM has the

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right to set the Reserve in the absence of an agreement with the

d. Telephone Bids- CDM shall use reasonable efforts to contact

seller.

prospective buyers who have made prior arrangements to place telephone bids in order for these buyers to participate in the

Article VIII: Bidding

auction. CDM shall not be liable for its failure to contact said

a. Bidders shall be personally liable for their bids unless they

bidders or for any errors or omissions made in connection with

have secured CDM’s prior written consent to act as agents for identified third parties acceptable to CDM. Bidders who act as agents shall be jointly and severally liable with their principals. b. Absentee Bids - CDM shall use reasonable efforts to carry out

telephone bids since telephone bids are offered as a free service that is undertaken subject to the other commitments of CDM during the sale.

written absentee bids delivered prior to the sale. If written bids

Article IX: Conduct of Auction

for identical amounts are received for a particular Lot and these

a. The auctioneer has the discretion to commence and advance

turn out to be the highest bids at the auction, the Lot will be

the bidding at the levels and increments which he considers

sold to the person whose bid was received and accepted first. The

appropriate. The auctioneer also has the right to divide or to

execution of absentee bids is a free service that is undertaken

combine any Lots. As a general rule, CDM will follow ten

subject to other commitments of CDM during the auction. CDM

percent (10%) increments, subject to the condition that said

shall not be liable for failure to execute a written bid or for errors

increment may change from time to time or at any time during

or omissions committed in connection with said bid.

the auction if the auctioneer sees the need.

c. Live Online Bids- CDM shall use reasonable efforts to carry

b. To implement the Reserve, the auctioneer may open bidding

out live online bids that are placed or delivered in accordance

on any Lot by placing a bid on behalf of the seller. The

with the terms and conditions set forth in the agreement

auctioneer will not specifically identify bids placed on behalf

between CDM and the third party provider of the online bidding

of the seller. The auctioneer may further bid on behalf of the

platform. If live online bids for identical bids are received for a

seller, up to the amount of the Reserve, by placing successive or

particular Lot and these turn out to be the highest bids at the

consecutive bids for a Lot or by placing bids in response to other

auction, the Lot will be sold to the person whose bid was received

bidders. Unless otherwise indicated in the catalogue or by an

and accepted first. The execution of online bids is a free service

announcement at the auction, CDM acts as agent on behalf of

that is undertaken subject to other commitments of CDM during

the seller and does not permit the seller to bid on his or her own

the auction. CDM shall not be liable for failure to execute an

property.

online bid or for errors or omissions committed in connection

c. The auctioneer may refuse to acknowledge any bidder and to

with said bid.

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reject bids. If any dispute arises between two or more bidders or in

such term is defined under Article 11 below). The buyer shall

case of error, the auctioneer may decide the same or may re-offer

likewise assume full risk and responsibility for the purchased Lot

and resell a Lot. The auctioneer has the right to determine the

(including, without limitation, liability for or damage to frames

successful bidder and take such other actions as he deems fit under

and glass covering prints, paintings or other works) upon the

the circumstances. If any dispute arises after the sale, CDM sales

striking of the auctioneer’s hammer.

record shall be conclusive. d. The auctioneers bidding increments: Range

increment

1,000 to 10,000

1,000

10,000 to 20,000

2,000

20,000 to 100,000

5,000

100,000 to 300,000

10,000

300,000 to 1,000,000

20,000

1,000,000 to 2,000,000

50,000

2,000,000 +

100,000

Article XI: Payment a. In addition to the hammer price of the Lot, CDM shall collect from the buyer a premium (the “Buyer’s Premium”). The Buyer’s Premium shall be fifteen percent (15%) of the hammer price. No Value-Added Tax (VAT) will be charged on the hammer price, but twelve percent (12%) VAT will be added to the Buyer’s Premium.

The buyer shall shoulder the payment of the VAT on the Buyer’s Premium. CDM reserves the right to revise these rates and/or announce special premiums at any time. A portion CDM’s buyer’s premium will be donated to CDM’s foundation of choice.

The bidding increments, however, are subject to change at the

b. The buyer shall pay the full amount due (i.e., hammer price,

discretion of the Auctioneer.

buyer’s premium and any applicable fees, taxes and charges) in cleared funds not later than five (5) business days after the date of the auction (the “Full Purchase Price”). Unless prior written

Article X: Purchase of Lots

arrangements have been made, the Full Purchase Price shall be

a. Subject to the auctioneer’s discretion, the highest bidder

paid in Philippine Pesos (or converted to Philippine Pesos based

accepted by the auctioneer will be the buyer. The striking of the auctioneer’s hammer shall mark the acceptance of the highest

on the conversion rate at the time of payment). The buyer shall be solely responsible for any currency conversion charges and wire

bid (the “Hammer Price”) and the conclusion of a contract of sale

transfer fees.

between the seller and the buyer.

c. Unless prior written arrangements have been made, payment

b. Upon the striking of the auctioneer’s hammer, the buyer shall

shall be made in Philippine Pesos. CDM shall accept payments in

become liable for the payment of the Full Purchase Price (as

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cash, bank transfer, or checks. Checks should be made payable to

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handling, insurance costs and any other expenses incurred,

Casa de Memoria.

together with payment of all other amounts due to CDM.

d. Payments by wire transfer should be directed to: Checking Account of Galeria Renascimento Commercial

Enterprises Inc. doing business under the name and style of Casa de Memoria under CA# 2751-0003-43.

c. Buyers shall secure the necessary insurance policies for their purchased Lots and pay the applicable insurance premiums thereon. d. Buyers shall be solely responsible for obtaining any necessary

Article XII: Transfer of Title and Release of Lots

export, import, national heritage, or other permits for their Lots, including but not limited to those issued by the National

a. Title over a purchased Lot will not pass to the buyer until and

Museum. CDM and the sellers make no representations or

unless CDM receives the Full Purchase Price in cleared funds. In

warranties as to whether any Lot is subject to import/export

the event that a buyer purchases several Lots, the title over these

restrictions or embargoes. Moreover, PDM and the sellers do not

Lots shall not pass to the buyer until CDM the Full Purchase

warrant that buyers will be able to secure the necessary permits

Prices for all Lots.

for their Lots. The denial of any relevant permit or license shall

b. The buyer shall arrange for the collection of the purchased Lots

not be a valid ground for the cancellation or rescission of the sale

within three (3) business days from the date of the auction. CDM

or any delay in payment.

shall not be liable for any damage to the Lots that are left in its

e. Any other taxes or fees that may arise in relation to the purchase

premises for more than three (3) business days following the sale.

of a Lot shall be for the sole account of the buyer.

Fees and expenses for the collection and transportation of Lots sold at an auction shall be for the account of the buyer.

Article XIV: Remedies Incase of Buyer’s Default a. Non-Payment or Non-Withdrawal of the Purchased lots- If

Article XIII: Packing and Handling of Lots

any lot has not been paid for in full and withdrawn under the

a. The packing and handling of the purchased Lots shall be at

deadlines and in accordance with the Terms and Conditions

the buyer’s risk. CDM shall in no way be liable for any acts or

established in Article 11, Section b,CDM, in its capacity as the

omissions of third party packers or shippers, regardless of whether

Seller’s representative, may, without prejudice to any other rights

these third party packers or shippers were recommended by CDM

to which it is entitled, adopt one or more of the following courses

upon the buyer’s request.

of action:

b. CDM may coordinate delivery of the purchased Lots to

i. Initiate legal proceedings against the Buyer in order to

preferred location at the buyer’s expense and risk. The Lots will

be compensated for losses deriving from non-compliance

only be released after payment in full of all removal, storage,

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with the contract, with interest, legal fees and costs to the

achieve compensation for the existing debit from the sales

fullest extent permitted under applicable laws;.

price of any item owned by the non-complying Buyer that

ii. Charge late payment interest at the prevailing legal rate

at any time is held by CDM, on any basis.

on the Total Amount Due until full receipt thereof.

viii. to exercise a lien over any of the defaulting buyer’s

iii. Resell the lot in question or initiate proceedings for it to

property in the possession of CDM, provided that CDM may arrange for the sale of such property and apply the

be resold, in an auction or via a privately negotiated sale, in

proceeds of the sale to the amounts owed to it within

which case the non-complying Buyer should pay CDM any

fourteen (14) days from its notice to the buyer regarding the

outstanding amount in relation to the Total Amount Due (after deduction of any partial payment that has occurred

exercise of its lien;

and addition of any supplementary cost arising from the

ix. to release the name and address of the defaulting

respective sale), wherein any remaining amount, if it exists,

buyer to the seller to enable the latter to commence legal

shall pertain to the non-complying Buyer.

proceedings to recover the amounts due as well as legal

iv. Remove, store and insure the lot(s) at the non-complying

costs, provided that CDM shall take reasonable efforts to

Buyer’s expense, wherein CDM shall decide whether or not

inform the buyer prior to the release of this information;

the storage should occur in its own warehouses or in other

x. to effect any combination thereof.

warehouses chosen by it. v. Withhold the lot in question or another lot that has been

Article XV: State and Authenticity of the Lots

sold to the non-complying Buyer in the auction in question

a. Considering that the items sold in an auction normally have

or in another auction, and only release it after full payment

significant age, all items are sold in the state in which they are

of the Total Amount Due.

found- with defects, imperfections and any descriptive errors or

vi. Reject or ignore any bid presented by the non-

omissions.

complying Buyer or by another person acting in his

b. Any illustrations or representations in catalogues are solely

name in any subsequent auction or request and obtain a

intended for identification of the items put up for sale.

deposit by the non-complying Buyer before accepting or

c. Buyers accept and will be satisfied with the lots, in the state in

considering any bid presented in the future. vii. Take all and any steps that are deemed to be appropriate, at any time, in order to receive full payment of the Total Amount Due from the non-complying Buyer, and also

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which they were found prior to the auction, and will freely judge whether or not the lots correspond to the description that has been supplied.

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d. Neither CDM nor its representatives, workers or employees may be held responsible for any errors related to the description, genuineness or authenticity of any lot, given that no guarantee is provided by CDM or by its representatives, workers or employees in this regard.

sold in this catalogue. c. All measurements, weights and sizes stated in the catalogues of CDM are approximate. CDM is not responsible for damage to glass covering paintings, drawings, and other works or frames regardless of cause.

Article XVI: Rights on Photographs and Publications a. The Seller grants to CDM the right to photograph and publish texts, photographs or illustrations of any kind, and in any form, in relation to any lot held by CDM for the purposes of sale, and also use these texts, photographs or illustrations of any kind, together with any others that are supplied by the Seller, at its own initiative,

d. CDM shall not be liable for errors that may occur in the operation of the video or digital screen and in the quality of the image. e. Employees of CDM may bid only if they do not know the Reserve. They must likewise fully comply with the internal rules of CDM on employee bidding.

at any time, whether or not connected to organization of the

f. The relationship between prospective buyers, CDM and the

auction.

sellers shall be governed by the following: i. these Terms and Conditions;

Article XVII: Sale of Original Works of Art

ii. any amendments to these Terms and Conditions

a. If the item sold in an auction is an Original Work of Art, it

that are made through posted notices or auctioneer’s

may be subject to either the Trade-Related Aspects of Intellectual

announcements during the auction;

Property Rights (TRIPS Agreement), the Berne Convention for

iii. any additional notices and terms that may be

the Protection of Literary and Artistic Works, and the WIPO

incorporated into the catalogues or website of CDM or in

Copyright Treaty.

showroom notices, or announced by the auctioneer during

Article XVIII: General Provisions

the course of the auction; and

a. All images, illustrations and written material produced by or for

iv. any contracts, agreements or documents signed by the

CDM for the auction are its exclusive property. CDM shall have the discretion to use these materials for its own purposes. b. CDM and the sellers do not warrant that the buyer will acquire any copyright or reproduction rights to any Lot sold. CDM expressly reserves the right to reproduce any image of the Lots

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parties relevant to the auction sale.

In case of conflict on the provisions of any of the foregoing sources of terms and conditions, the guidelines in a document of a later date shall prevail. g. No oral or written statements made by CDM in its

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advertisements, bills of sale, showroom notices or announcements or through the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability on the part of CDM. h. If any part of these Terms and Conditions is held invalid or unenforceable for any reason, the remaining provisions shall continue to be valid and enforceable to the fullest extent permitted by law. i. These Terms and Conditions are not assignable by any buyer without the prior written consent of CDM. However, these Terms and Conditions are binding on the buyer’s successors, assigns and representatives. j. No act, omission or delay by CDM shall be deemed a waiver of its rights and remedies under these Terms and Conditions.

Article XIX: Jurisdiction a. These Terms and Conditions and all related matters and transactions shall be governed by Philippine law. The parties agree that any legal action, suit or proceeding shall be instituted at the competent court in Makati City, to the exclusion of all other venues, the buyer hereby waiving all such other venues. This clause is for the benefit of CDM only and as a result, CDM shall not be prevented from instituting proceedings in any other courts having jurisdiction.

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Documents All registration forms for absentee bidding, telephone bidding, online bidding, and bidding during the auction itself may be found at www.CasaDeMemoria.Com

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lot 096 page 172 212

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Contributors Angelique Marie L. Miranda

Serious Studio

Director

Branding & Design

Tiffany Pauline D. Mathay

Gregg Alfonso G. Abbang

Operations Manager Paola Angelica Z. Mathay Finance Manager Camille Marina Viola D. Lhuillier Marketing Manager

Gregorio R. Caliguia III Research Specialists Margie D. Heramia Ma. Jovita A. Del Rio Rosemarie B. Rodriguez Casa Team

Ferdinand Salvador Consultant

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Casa de Memoria supports The Chosen Children Village

The Casa believes in loving homes for all. The Chosen Children Village coordinates with the DSWD and Inter-Country Adoption Board (ICAB) in placing special needs children in permanent homes in the Philippines, Europe, and the US. Adoption opens up a door to a brighter future for these beautiful children who need love and care.

For every auction that we have, a contribution from our sales go to the Chosen Children Village.

Learn more about them at www.chosenchildrenfoundation.com

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