57. Facebook Paintings: LAPU-LAPU AND BULAKNA, by Rodolfo Pasno

LAPU-LAPU AND BULAKNA, painted by Mabini artist Rodolfo Pasno ca.1957, in as-found condition on a facebook group. 

Will wonders never cease? I just found these paintings on a Facebook group--and they were for sale. The original description noted that these were portraits of Lapu-Lapu and his wife Bulakna. One look and I knew they were painted in the familiar Mabini tradition---paintings of ethnic types done in pairs, made for the burgeoning tourist market in the 50s-60s.

The paintings were done by the late artist Rodolfo Pasno, who used to work in the Mabini area and who had an atelier at the Pistang Pilipino, the mecca of things Filipiniana. The pair measured 16" x 20", with missing frames. There were a few issues with these paintings, common with vintage ones--there were some chips and paint losses, but the canvasses were still tightly drawn on their stretchers.

I also suspected that the backgrounds of the portraits were painted over, but this flaw does not detract from the powerful artistry of the paintings, as gleaned from the vibrant colorations and confident brush strokes of the artist.

Restretched, cleaned-up and reframed, the two Pasno portraits now hang on the stairwell of my condo, an addition to my growing collection of midcentury Mabini works, that is slowly, but surely being appreciated by a growing legion of art collectors.

56. I FOUND MY DIARIES, AND STARTED READING ABOUT ME.

I FOUND MY DIARIES, AND STARTED READING ABOUT ME.

 I was 15 when I started a diary, December 1972 to be exact. I didn’t know what prodded me to write the daily details of my life—it may be because I was in the last few months of my senior high, a chapter that I did not exactly want to end. Or it could be my historical gene that compelled me to record events for my future descendants to read about—both milestone and everyday moments.

 Long before the age of expensive moleskins and fancy scrapbook journals, I was already writing down, at day’s end, the things that transpired at home and at school. I first wrote on unused notebook pages, bound in metal fasteners. I wasn’t much of a writer, often writing in phrases, and just enumerating sequence of events. 

My earliest Christmas day entry (December 25,1972, Monday) noted how my day started and the gifts I and my siblings received: “Woke up at 8:00 a.m., and I got my gifts—orange shirt and green ‘tela’, Php 10.00 bill from Ma and Php 5 pesos from Auntie Susing. Gregg got green shirt. Mike and Eric got chess sets. Froi got a toy harmonica”.

 Similarly, on January 17, 1972 I nonchalanatly reported the posting of our bi-weekly grades, while a 4th year student of Sacred Heart Seminary: “Ranked 6. Spanish-77, Physics-79, History-88, Composition-88, Literature-81, Religion-82”. And I thought I was a real “bobo” in Physics—I had a better grade than Spanish!

 There were days though when I started writing about my feelings—or more accurately, my mood swings—“Was very mad ‘çoz I can’t find my Jingle magazine! Locked myself in my room.” (17 January 1973. I wonder if that instigated my future obsession to organize my magazines and comics in neatly-labelled boxes, arranged by dates?).

 Of my high school graduation on April 14, 1973, Saturday, I wrote: “Final graduation practice. We had to carry lots of chairs, so tired. Got home past 11 and after a brief nap, I dressed up for graduation. I was with Ma, Beng and Cyn. The graduation was a quick one. Went to Tatang Ato and ate and ate.”.

 Even with such a bland description of an important school event, I could now recollect with greater details what happened that night. Our Class of 1973 graduation was held at the Sacred Heart Chapel. I was dressed up in a borrowed coat slightly damaged by a flat-iron scorch mark on the breast pocket, perhaps inflicted by a careless househelp. My mother insisted that it will not show on my pictures as the fabric was dark anyway (well, it did, Mother, the flash cameras captured it as a shiny blemish on my picture!). I remember the stifling heat and my hunger pangs—I couldn’t wait for the rites to end.

And when it did, I just rushed out to get some fresh air, and didn’t even have a chance to say my proper goodbyes to my teachers and classmates. Since I didn’t have any “handa” for my graduation, my parents and I decided to proceed to the house of my uncle, Tatang Ato and Mang Luning, who, at least prepared a party for cousin Ramiel, a fellow graduate. I remember having grilled tilapia for the evening, happy to feast and freeload.

 As I sift through my diaries now kept and sorted in three boxes (I changed to writing on Cattleya notes, instead of bulky notebooks), I, too, have become amazed at the trove of information I have written. The entries for October 1998, April 2007 and most recently, June 2009, were harder to write for they contain the last accounts of my father’s, my brother Eric’s and my mother’s valiant fights for their lives. To this day, I have no desire to re-read what I have written, for that only serves to bring back memories of great loss and mourning.

 But there were also momentous dates that I took note of, that were sources of joy for the family, all documented on my diaries---like the birth of my first nephew ( July 1978), weddings of siblings, my father’s Dream trip to the U.S. ( March 30,1980 ) my parents’ 25th wedding anniversary (15 May 1974) ,promotions on the job, passing of various board exams, and on a personal note, my London and U.S. agency training in July of 1989.

 Even what’s in between the pages of my thick and tattered diaries contain surprising stuff that never fail to amuse—a clipping of a “want-ad”of a Makati agency which I responded to. I was accepted for the job, but never got around to writing my first ad copy as the company declared bankruptcy on the very day I was supposed to start. There were also school programs, photo negatives, various receipts and scribbles of my 1981 swimming records that I diligently kept (1 min,: 38 secs for 100 m. breaststroke, Nov. 8, 1980—slow for a 23 year old).

 It’s been 45 years since I first took up a pen and began writing on a notebppk page that would become my first diary. For as long as there are things to write about, I don’t think I will stop writing. And I don’t care if these things I write about are only relevant to me. As far as know, they compose memorable references of the people I have known, siblings I grew up with, of fathers,mothers, grandfathers, and of forebears we now miss and honor,of classmates, teachers, officemates.

My diary doesn’t just document life events but they capture the nuances of relationships and illuminates what time has dimmed. So today, as I review the dog-eared pages of my diaries, I hope to explore again those shadows in my past that are vague and hazy; places, images and events that have been forgotten, ignored or taken for granted. Unravelling the magic of memory has never been so fascinating.

52. REWARDED WITH AN OSCAR

When I began collecting paintings in 1995, one of the very first I acquired was a large work on canvass by an artist named Oscar T. Navarro. The name of the painter was my least concern at first—it was the theme that mattered to me most. I have always been partial to conservative Filipiniana paintings and this particular ‘woman on a banca’ scene I instantly liked—not just because of the subject but also because of the price; it was available in two easy installment terms!

 Eventually though, I got interested in the artist behind the painting. I looked up “Oscar Navarro” on available art books and found out that his works were included in the Jorge Vargas Filipiniana Collection. Born on 24 January 1921, Navarro had belonged to the first batch of U.P. Fine Arts students whose studies were interrupted by the outbreak of World War II. Most of his classmates died in the Bataan Death March. After the war, he established his talyer in Ermita in 1949.

Painting in the realist tradition, he won many prizes in the Conservative Category at the AAP Exhibitions from 1951 thru 1955. He also was a superb landscapist, and it was his mastery of this genre that attracted me to his work in the first place.

Since then, many have started discovering the works of this Manila artist, and a quick search on art auction sites, including good old ebay, turned up a small cache of Navarro paintings now carrying hefty price tags, from a low of $399 to over $1,000!

So it was indeed a pleasant shock for me to discover a rather long and large Oscar Navarro flower painting in a ramshackle antique shop in Bulacan, hidden behind vintage furniture pieces.

Other than the name of the artist which can be legibly read, the dealer knew nothing about the artist. When pressed for more information about the painting, he told me that it had hanged in the living room of an old house.

The painting, dated 1970 and measuring approximately 24 x 48 inches, was done in the later years of the artist’s life (he died 22 December 1973, aged only 52). It sharply departed from his traditional landscape works of which he was more noted for; this example shows a still-life of brilliant colored zinnia flowers bursting from a vase, each rendered in distinct bold strokes and using thick paint, characteristic of Navarro’s deft, energetic technique.

It is a highly commercialized work for sure, more decorative than artistic, meant to enliven a drab wall or to fill up an empty space, but it still is a pristine example from the artist’s late period. Except for crayon markings on the lower part of the canvass, the painting, in its original stretcher and wood and gesso frame—is in very good condition.

And now, the most exciting part was inquiring about the price of this Navarro work of art. Will I be able to afford it? Will I be able to bring it home? Or will this be another case of “the one that got away?”

 The quote was Php3,500 pesos.

 And this Oscar goes to...

45. WHERE HAVE ALL MY PHOTOS GONE? part II

Some of my photos have also seen print in other publications like magazines, school journals as well as other writers' blogs. Presentations have also been enriched through my photos, to illustrate or visualize a topic.

MAGAZINES:

METRO SOCIETY, "All Hail the Queen", by Bettina Rodriguez-Olmedo, photos by Alex R. Castro. Article on past Manila Carnival queens. July-Aug. 2009 issue.

SINGSING, Official Magazine of the Center for Kapampangan Studies, Holy Angel University, Angeles City, Pampanga.

 BLOGS: 

Na Mi Puebo, a blog about Zamboanga City, maintained by Rossini Almonte - Picture and article of Carmen Fargas 

Dan Cuyonon, a blog about Cuyo, Palawan, maintained by Dan Oliver Tan - picture and article of Trinidad Fernandez 

Ang Aming Angkan, a family genealogy site, -Picture of Iluminada Tuason, Miss Philippines 1939 and reference to my Manila Carnival blogsite 

THESIS: 

 The Philippine International Fair of 1953, doctoral thesis of Edson Roy Cabalfin, Asst. Professor, School of Architecture & Interior Design, University of Cincinnati. - pictures of 1953 pavilions and booths

 Cultural History of the Sto. Domingo Church, Masteral thesis by Romeo Galang, approved for publication by UST Publishing, 

  
 UP Visual Communication Thesis-Exhibit, March 2010 -pictures of Manila Carnival 

43. 'TIQUES TRIPPING, part I

I knew this one day holiday was coming, so, as early as last week, I reserved May 1 as my LWL day (read: LiWaLiw, a code my friends in the office use when we want to do a bit of gallivanting, yes—even during office hours.) Heck, I need this break; I’ve been under tremendous stress lately, coping with work while dealing with sickness and death in the family.

What better way to recharge than to go antiquing, a hobby that I’ve put on hold for the last few months? I have not made the rounds of Manila shops lately, and so, on this day dedicated to workers, I decided to work the antique circuit and see what’s in stock (or what’s new, but then that would have been inappropriate).

Mind you, the intent of this trip was to de-stress, which, in my case, could be accomplished by feasting my eyes on objects of history, beauty and value (read: santos), nothing more. But of course, I am always noted for uttering those famous lost words. More often than not, after filling up my senses, I end up filling a bag with an antique purchase.

On this hot sweltering day, I took a cab and found myself in Manila’s antique enclave: the streets of Mabini, M.H. del Pilar, Padre Faura. It was just past 10 a.m. when I entered DEUS—it was open! Immediately, santos attack my senses and my heart palpitates..

 I was in luck. Noted director and owner Floy Quintos, an acquaintance, was around! He was rushing to Iloilo that day but still found time to show me interesting santos of all shapes and sizes. But the one that caught my eye was a seldom-seen antique Sta. Ines—our barrio patroness! Hmm, there was a sense of familiarity when I beheld this image. It’s chapel size, the body definitely old, the carving folksy—in fact, a tad too folksy for my taste.

  Next to it was a not-too-old, not-too-new ivory Del Rosario. Yours to bring home for PhP 200K! Any takers?

 On top a nearby altar table is this Raffy Lopez restored ivory Crucifixion scene in its original virina. Nice! Nice price too.

 So, okay, to the wooden santos then. This polychromed San Roque is a good piece. Heavy wood. Now if only it had a dog and angel…

 Floy also showed me an unusual miniscule all-ivory Nino sitting on a media luna (half moon) and dated 7-17-1959. A vintage piece, but still a rare representation of the Child Jesus. In my excitement, I forgot to take a photo. Sayang. I think, though, it will go to his private vault.

Next door to Floy is the shop of Nellie Enriquez, who sells more bagong luma (reproductions) now than genuine antique pieces. Nellie’s shop had always been here; I would go to her to buy new santo bases and for santo vestments repair. I found several items here that piqued my fancy: First, a complete 2 footer San Roque (albeit undressed), with a silver pukpok base, that unfortunately does not show in the picture.

 There's a repro San Sebastian, which also caught my eye:

 The glass escaparates yielded these small ivory Ninos, just around 3 inches long. One looked like a Nino Inocente for a Virgen Desamparados. The tag? PhP 4,500 each.

My heart skipped a beat when Nellie brought out a cardboard box where this well-carved head of a processional Veronica emerged! It was in great condition, encarna and glass tears intact, and well-carved. The only problem was that it was fairly new (dated 1982 incised at the nape, too recent for me!). The other bigger problem was the price (25K!—arrggh!, 5K more and I can have Nick Lugue carve a whole complete santo)..

I found out that this head was consigned by Nora Ignacio of SINAG TALA ANTIQUES, which explained why the price is so—impossible. I must go to Atsing Nora! But wait, BERNALES ANTIQUES nearby may have something worth seeing too. No santos, but I was shown these embroidered altar cloth pieces with Agnus Dei and floral motifs that offer a lot of possibilities.

The asking price of PhP70K was just too much for these frayed pieces that are threatening to disintegrate at a touch. Oh, well. Perhaps, it's really time to go to Atsing Nora, it's almost lunchtime anyway.

I’ve known Atsing Nora for over 20 years, back when I was a fresh graduate in my first job. She was the first to offer installment payments on santos I wanted to buy, and some of my initial pieces came from her shop.

But upon reaching Casa Tesoro, her shop was nowhere to be found! In fact, all the other antique shops housed in Casa Tesoro are gone!

(1 May 2007)

42. SIMON SAULOG GOT EBAYED

For many years now, my wish list of paintings includes that of the relatively unknown and underrated artist from Cavite, Simon Saulog. I first saw his work included in Filipiniana art collection of Jorge Vargas, and later read about his life in a past issue of Art Manila. He was an acclaimed painter in the 1950s, famed for his paintings of Filpino madonnas--only to die almost forgotten in his home province in November 1995.

Born in Malagasang in Imus in 1916, Simon exhibited extraordinary talent at a young age. Father Juan Saulog, a horse trader, would often find him sketching horses as Simon sat by their house’s ventanilla. The proud father would show his son’s sketches around, who, in turn would be amazed at his artistry.

His first mentor was a 17 year old neighbor, Gregorio de los Santos, who would watch him copy the likeness of Rizal from a very small postage stamp. Simon would follow suit—but he copied Rizal’s image from a bigger one peso bill.

Saulog enrolled at the University of the Philippines in 1931. When Fernando Amorsolo, Fabian de la Rosa and art teacher Candido Alcantara saw him draw, they described him as “isang pintor sa puso” ( a painter at heart). While in school, Saulog was won two medals and 8 honorable mentions for his works. He graduated in 1936, together with his classmates that included Angel Luna, Cesar Legaspi, Victor Loyola and Ricarte Purugganan.

Thereafter, he joined many art competitions, and it was in the post-war contests of the Art Association of the Philippines that his “Filipino Madonnas” first created a stir. They were described as “women of unspoiled, fragile purity, ideal of the countryside”.These qualities were the hallmarks of his works, and he belive that an artist does not paint sceneries, but paint stories.

Saulog, in his lifetime, won many awards, including taking second place for his painting “Offspring” in 1952. In 1956, he won first place in a UNESCO-sponsored art conest in New Delhi, India. He served as judge at the Shell Art Competition and exhibited his works in Bern Switzerland.

 In 1955, he also exhibited at the first sidewalk art of the Academy of Filipino artists and was featured in the First Southeast Asian Art exhibition in 1957. His works were soon available in the numerous galleries that dotted Mabini St. in Manila.

When a new breed of modernist artists emerged to take his place, Saulog went back to Cavite to work—and teach-- in obscurity. He suffered from poverty, remaining unnoticed in death. De La Salle University-Dasmariñas was the first to take note of Saulog’s contribution to Philippine art, celebrating his silver jubilee with an exhibit of his works at the Museo De La Salle. Despite this renewed awareness, Saulog paintings are rare and hard to come by in the market.

The first Saulog painting I saw for sale was in one uppity antique shop in a Manila mall. The second one was a beautiful pastel of a guitar-playing old man puffing a cigar at Galeria de las Islas in Intramuros. I was told there is a Saulog currently available at Tiendesitas for Php 45,000.

A local painting warehouse in Cubao yielded a more recent Saulog watercolor dated 1981 with a 35K price tag. The painting is entitled "Mariang Makiling.

An early Saulog portrait of an American woman is also up for grabs on ebay with a starting bid of $399—but there are no takers yet. The alien subject may be undesirable to many collectors.

 It was a surprise then to see a small Saulog piece offered on local ebay Philippines at a very reasonable price. It is a small piece, 12 x 17”, signed S. Saulog, “Imus, Cavite”, a signature tribute to his town and province.

The circa 1970s painting was dedicated to a certain Tony ( a lawyer-patron, I was later told), and it came from a private collection of an art-loving couple who have been silently unloading some other vintage pieces from their collection that included Anchetas, Laxas, Navarros, Custodios and J.D. Castro. Although bidding is slow on ebay.ph, bidders snapped most of the choice paintings.

As it turned out, I was the only bidder of the Saulog work, which was priced more than the Custodio and the Laxa pieces, but still within my budget.

Now, I am a proud owner of a Saulog painting, a small treasure as colorful and as affecting as the life lived by Cavite’s art maestro and, more importantly, a legacy that will ensure that he will always be remembered and never forgotten.