Santos Series 01: San Ramon & San Roque

The photo above is purported to be a 19^th century or early 20^th century carved santos. I could be wrong but this one looks like San Ramon Nonato because of the white chasuble. This piece came to me a year ago from another island that is famous for its delicacies. It seemed that the previous collector-owner wanted to dispose this along with the ubiquitous San Vicente Ferrer, but among the lot, this San Ramon is the best carved.   San Vicente, San Roque and Virgin Mary Bohol-style are more common than the rest, so getting another saint type is desirable for it gives one’s  collection variety.  This means that if you see a San Agustin or a Sta. Ana or a Sta. Teresa de Avila, get it for more often than not, you won’t find another one of the same type in the next years or so.

 

This 2^nd santos is San Roque (St. Roche).  This was sourced from one of the outlying towns in my province.  Provenance wise, this came from the prominent Callate family whose nonagenarian matriarch had passed away a year ago.  So, one of the remaining heirs who converted to Non-trinitarian Protestantism was only too happy to dispose of their saintly heirlooms apparently in a bid to earn more shopping mileage.  But their issues are not mine, so whatever item they want disposed I shall gladly take. 

Anyway, this San Roque was originally a table top figure. All San Roque statues consist of three parts: San Roque, the angel bearing a scroll, and a dog.  In my case, probably because of wood deterioration, the seller cannibalized the set and mounted the saint and the angel onto a felt-backed wooden frame.  Such frames are common during the 70s-80s.  

 

What I love about this is that the figure is an original from the 19^th century, with just the right amount of folk naiveté.  The saint is well-carved as seen in the beard, the flow of the fabric, and the proportion of the body.  The master-carver must have some training in order to execute such minor expertise.  The angel, however “folkish”, is also original with intact patina. It is important that when collecting Philippine santos, one must try to preserve the patina or choose one that has not been sanded over nor retouched.  However, there are pieces that were painted over several times because of tradition should be reconsidered for this would add another layer of story to the piece instead of destroying it.  Caveat emptor still precedes any decision whatsoever.
 

Some Tips for collectors:

If you encounter a saint type that is rare and uncommon, get it for chances are, you won’t stumble a similar type on the next antiquing expedition.

If a veteran collector or an old family is unloading their goods, check it out. Their items may be choice pieces since they bought it during a time of plenty.

Do not 100% believe the provenance of your antique dealer or runner.  A lot of times, theirs are just hearsays.  Believe it though if you bought the item directly from the owner.

Do diligence check on all desired items. Check for faults, restorations, fakes, etc.

Try to avoid santos that had been sanded over / intentionally excoriated whereby the patina of the poor thing has all but disappeared. 

A Filipino Ceramic Water Filter or Banga or Tapayan

My suki-runner brought this to my house just this morning. His friend was trying to unload this. Provenance-wise, this came from a family who had rich ancestors but now have succumbed to the vicissitudes of life.


He lugged in an American colonial-era (1899-1945) ceramic water filter. The condition was fantastic great. Usually these big hulk of collectibles are either broken, or with parts missing or in cases where they're intact, they're displayed in ancestral homes as heirloom pieces.  I am glad that the only damages seen were the chipped ceramic cover whereby the previous owner tried to restore it using epoxy resin, and one missing filter bar-handle. No gross defects was noted that could have marred the appearance.

A sample of an earthenware banga or tapayan (dont.blink.ph)

The filter is made from indigenous Philippine clay much like the "banga" of old. Since the country doesn't have a ceramic industry like in Delft or China, a lot of local filters are made of clay. Unlike the banga, this one has a filtering mechanism where impurities are cleaned out.  The poor unfortunately had to contend with the earthenware jar or banga or tapayan for storage.  Wasn't there a cholera epidemic during the 1910s? Oh well.

The item has a smooth white-washed outer finish, with flecks of remaining brown paint, labeled with black ink. The body is made of three parts: the cover, the upper reservoir where one pours in the unfiltered water and the lower reservoir which holds clean water.  The upper reservoir fits like a hat on top of the lower part as seen in the middle rim. There is also a brass spout which acts as the spigot, or the "tuburan" or "gripo".

 

 The label here is: 

Dizon Filtro Radinmetor
Reg. Trade Mark
Pat. Apld. (Patent Applied?) For USA & Foreign Countries

C.M. Dizon Mxxxxxx
Porac, Pamp. (Pampanga), P.I. (Philippine Islands)

I have deduced that this water filter is from Pampanga during the American period since the use of the initials PI as opposed to RP for Republic of the Philippines in which the latter was used during the Republic years of the 50s-60s.  Noting the ingenuity of the maker which I think was his reaction to the lucrative importation of European ceramic water filters, this particular filter must have been made during the 30s or 40s.  Why? Think about it.  The Philippine Commonwealth era heralded a period of peace and prosperity for Filipinos. Unlike the early years where importation was rampant marred by the Philippine-American war, and where European ceramic filters were expensively exclusive, Mr. C.M. Dizon (Celestino M. Dizon?) was able to build up capital and build a local factory for making cheaper alternatives using local materials.  This is perhaps why upper-middle class landowners could then afford to buy this type of luxury.

As the water goes into the upper reservoir, two limestone like handles act as filters, which in this case one has been broken off (to my chagrin).

What got me excited is the scarcity rarity of the item. Sure, water filters are de rigeur among wealthy Filipinos during the colonial era, but how often will you come across one that was locally made? I have another filter that my mother bought from a local antique store but it was imported from England.  Almost all of the ancestral houses I have toured in my far away province have imported water filters. If not English, they were either French or German made.  So, seeing one that was manufactured from Pampanga is rarity in itself.  I wonder how many more of this are out there?

A Set of Cosmetic Containers

Couple of years ago, the owner of a rundown antique store in my city has these ceramic cosmetic containers displayed in one of her glass curio cabinets.  These ranged from the late Ming to the Yuan to the Qing dynasty.  They are an odd lot with their covers already gone.  Collectors, especially old matronly ones, favor these types because of their size. Well, anecdotally speaking, that is.

 So, the owner sold me this entire lot for $20.  I was happy with it since collectively, they look good in my cabinet.

However, some tuition fee was inevitable.  I reexamined a few and I suspected that these were modern copies- they looked as if they were machine made and the glaze was too modern for my taste (no cracleur, no rust spots, no potters wheel mark). Well, caveat emptor I guess.

Which ones are fake, can you guess?

A Ming Chicken Water Dropper

As per previous entry, the same seller brought out this wonderful, perfect (no chips nor hairline cracks) chicken water dropper. This item presumably came from the same burial site in that out-of-the-way island here in the Philippines. 

From the shape, the color, the luster of its glaze and the overall appearance, this chicken water dropper must be from the late Ming period.  Yes, it’s indeed Min Yao (People’s Ware) but its rarity and condition makes this item truly a collector’s piece. 

Other similar examples have been published in past catalogues while those at the online market like Trocadero have already been snapped up. One was selling this for $450.  Fortunately, I got this with the entire lot of diggings and my seller was already desperate in unloading her items (since she has to take the bus to her barrio).  I had to offer her something even if I was not in the itchy mood to acquire another ceramic piece.  In the end, I am glad I got her lot.  

From The Williams Collection of East Asian Ceramics Catalogue, Detroit Institute of Arts:

Antiquing. More Fun In The Philippines.  

Offers are welcome via email.

An Early Ming Charger

I simply love it when innocent diggers unearth treasures in their farm plot.  This early Ming Minyao charger (as seen in the spontaneous yet simple design) is my baby. My perfect charger is about 10inches in diameter (guesstimate) is free from any cracks, chips and restoration.  It's Swatow / Zhangzhou ware as typified by the grits at the bottom of the rim, and the design is Ming.   I do hope there are more finds underneath the Philippine soil. Price? Let's just say it's cheap considering the overall state of the item.

You can find some similar items here: Zhangzhou Ware Found in the Philippines

Would I sell it? I may, depends on the offer. Leave a comment and we'll see.

A Dragon Earthenware Jar

 A year ago, my dealer/runner had lots of contacts who wanted to sell their ceramic finds. I wanted to get them all considering the quick rate of turnovers in this field.  Unfortunately I hadn't got the cash to buy the lot.  So I had a down-payment done and got this jar as partial purchase with the promise that I shall complete the deal in a few days time.  Due to the fact that I had bitten off more than what I could chew, the deal collapsed and the rest of the lot was sold to other collectors.  All I got was this.  I paid I think $150 for the dragon jar which I find a bit steep which I shall later divulge.

 This jar I believe is an earthenware jar made during the Age of Contact between China and Southeast Asia right about 9th to 15th century.  Others would classify this as Martabana or Martaban jar which I feel may not have been brought over from Martaban, Burma. Most of the small decorated jars dug up in the Philippines were brought over from Fujian in Southern China.  More similar jars can be found in Valdez's A Thousand Years of Stoneware Jars.

The jar, measuring about 18 inches has a smooth brown glaze that extended on almost all of the base area.  The body has a dragon design and several clouds at the periphery. There are 4 lugs on the neck. One was missing and was poorly restored.  The base has a prominent potter's wheel mark. 

Taking into account the form, the glaze and the overall structure, once can bravely put this as during the Ming Dynasty or even during the subsequent Interregnum. Song dynasty jars are usually plain and spartan in design whereas monochrome Ming jars are decorated usually with dragons.  Although there are no cracks, more major repairs, I still feel that I could have gotten it at a lower price considering the restored lug.  As they say, "caveat emptor".

Palayok: The Philippine Funerary Iron Age Pottery

Funerary pottery in the Philippines is one of the more niche type of antique collectibles here.  It is not well understood.  Casual collectors dismiss this as buraot or cheap collection favoring more the trade porcelain from China and mainland Southeast Asia.  Lack of literature and low supply keep this kind of artifacts out of the mainstream antique market here in the Philippines. However, true collectors who understand these enjoy collecting them, and appreciate their history.  By history, I mean the value of these Iron Age pots and vessels in the contribution to the understanding and knowledge of ancient Filipinos.

Except for the Maitum anthropomorphic jars and other anthropomorphic vessels, these are affordable.  Depending on where you are, these can range from a few hundreds to a couple of thousands of pesos. I got mine for a couple of thousand pesos and many more pieces ranging from 500-800 pesos each.  If you're living in Panay, then you might have encountered stories of collectors hauling pottery for a song. Why? Because a rich cache of pots were found at a well known (for archaeologists like William Solheim) island thereby glutting the antique trade in Iloilo. This made many collectors happy.

This vessel I bought from my itinerant dealer was from that same island. Apparently, recent rains washed away some sand cover thereby revealing a cache of pots. Anyway, I bought this book from the Ayala Museum entitled Pang-alay and it is a treasure trove of  researched information about the Philippines before the age of trading.

Our ancestors made these vessels as "pabaon" for the dead. They were not used for eating or drinking but  were made especially for the internment of the dead. I am not sure whether the degree of stylization of the vessel is indicative of the social status of the family.

From a collector's point of view, here are some insights on this matter:

1.  Examine the object.  The potting is generally thin and surprisingly light-weight.  The color can have an orange rusty tinge or none at all.  Some would have marine encrustations indicative that these were found either at the shoreline or under the sea.  A lot have simple decorations of incised or chevron patterns, some have none at all, while some are stylized with roped indentations.  So, due to scant information on this, even plain vessels can still be collectible.

2.  Look for restorations.  I discovered several days after my purchase that one of the vessels has a restoration.  I had to consider it as my tuition fee.   This happens to all collectors, and because of the few books on the subject, you are left to your own device on how to spot fakes and reproductions.  Check the vessel's weight.  Inspect the color.  If there's a break in the design or consistency of the medium, it may be an indication that the vessel may have been tampered.  Marine encrustations can be a distraction, so be wary if they seem pasted. Look for creeping patterns of calcification because if they were pasted, you'll know.

3.  Read & Research.  Search the Internet for journals.  Correspond to William Solheim, the Philippines' eminent archaeologist whose expertise deals with this. You will have to invest in books like Pang-alay which you can buy from Ayala Museum in Makati or you can buy Kayamanan, a book on Arturo de Santos' collection found at the BSP. Kayamanan book is however out-of-print.

4. Visit the Metropolitan Museum.  Go to the basement level of the Met and you'll find the jewelry and the pottery of ancient Filipinos all in their finest glory.  When I saw them I was gobsmacked. It was fantastic to see those. 

5. Visit Antique Shops. Ask if they still have Iron Age pots and vessels. Some dealers would rather use the term "palayok" than "iron age". If you do find one, then haggle it to death so you can get the best deal. 

Happy Antiquing!

Literature on Pinoy Collectibles & Antiques

 

Here in the Philippines, publications on antiques, collectibles and Filipino heritage are hard to come by. It's either the books are out of print or are way too expensive for the average Juan de la Cruz.  

The bookstores are not helping either. They don't stock these books or if they do, the item is already soiled and grimy from extended manual handling. It's a big disappointment. Small local independent bookshops have a good number of Filipiniana titles but books on Pinoy collectibles are few and far between.  And antique shops have books that are way too expensive and more geared for the rich and sosi afficionados. Which is why it pays to attend exhibits and look for titles among the museum shops' offerings.This way their stocks are well kept and they're priced reasonably (as against to Amazon's used book prices).  

One of my greatest regret as a collector was that I only started "seriously" collecting and buying books on Pinoy antiques when they are already off the shelves and nowhere to be found.  Now that I have the means to do so, I have been trying to rectify this deficiency and the only thing hampering me is the unavailability of the supply.  So far I've already snapped up several books and hopefully others on my list will soon be ticked off.

My recent acquisitions were these:

1. Zhangzhou Ware Found in the Philippines (Rita Tan)

While I was still in college studying in the Manila area, I usually go to Powerbooks or Fullybooked just to pass the time and browse through their Filipiniana section. I remember browsing this book and commenting  there's no way anyone will spend P2500 for a book. Though I enjoyed looking at the plates and bowls, it didn't give me the same excitement until now when I bought the remaining copy from Solidaridad. It's one of the few seminal books on Swatow ware in the Philippines.

2. A Thousand Years of Stoneware Jars (Cynthia Valdez)

This book is for the ceramic specialist and the collector of Martaban jars.  Martaban jars named after the Burmese port of the same name, are very popular as a collectible among middle to upper class Filipinos.  These become home accent pieces and are fairly expensive compare to some Ming and Sung ceramics.  They're quite rare and if you have several, then great.  This book tells about the development, the usage and the trade of this kind of Southeast Asian ware. Ayala Museum and the Lopez Museum carry this title and at less than P1000, it's worth every penny.

3. Pang-Alay (Cynthia Valdez)

This book is one of the few volumes that delves on the Iron Age Pottery of the Philippines.  These funerary pots and vessels are quite collectible, but not as collectible as the glazed ceramics.  The book is research based and has a very extensive catalog. For Filipinos, this is a very useful book especially in identifying items in their collection. Ayala Museum carries them.

4. Three Hundred Years of Philippine Maps (PHIMCOS)

This P600 volume is printed in full color and has 94 pages replete with old Philippine maps.  The maps inside reflect the vast collection of the exhibit. The catalogue itself is already a most-prized collectible because there are only two other books on Philippine maps as of today and both are exorbitantly priced.  This is why this catalogue is useful in identifying ones collection for almost all the pages are jam-packed with representative maps.  This is a keeper. You may want to contact phimcos.org for available copies because as far as I know unsold catalogues were returned to the organization. And none are being sold in major bookstores.  Thus, if you were able to snatched one up, consider yourself lucky.

On Bohol Urnas or A Small Urna Primer

Original Bohol Urna w/ an antique grada from another urna.

 A few weeks ago, my dealer brought me to his source at one of those far-flung towns in my province. There, I spotted among the warehouse bric-a-brac three folk santoses and these three Bohol urnas or home altars.  They were quaint, and looked run down but the patina of antiquity was exquisite.

My largest Bohol Urna with intricate carvings. The grada is suspiciously recent.

The corona of the above-mentioned urna is suspiciously modern.

I had a difficult time sleeping then. I researched on the allure of Bohol urnas and urnas in general and it seemed that this is a highly collectable type of Philippine antique. Why? It appeals to the Filipinos who are mostly Catholics, and having these would exude an Old World Hispanic air inside their homes. Secondly, because they are prominently displayed at the sala (living rooms) as altars and reliquaries, these give their owners a sense of being wealthy.  Lastly, some would have them as a devotional artifact thus, enriching their Catholic faith.  In my case, I adore them more for their historical value and their artistic merit. It lends an atmosphere of old Latin America (which is presently chic in this tropical country of ours) that is reminiscent of Gabriel Garcia Marquez and Isabelle Allende. And the niche-like design of urnas gives the antique santos a much-pumped up appearance in the same way a Thai spirit house would enhance a tropical garden. It must be the spirituality in the housing.

According to Guy Custodio,

 The URNA, a miniature (both in the Baroque and Rococo style) housing for santos made up of molave slices pegged together by mortise. The overall surfaces have floral and architectural relief, deeply carved and painted with oil colors; some were even gilded. Very similar to a tabernacle except the structure is elevated on a grada; a polygonal panel that is wider at the bottom with stepped sides. The center compartment where the santo is housed has sliding doors often with a painting of a chalice. 

One can see the grada on both of my urnas.  They are those carved step-like structures that form the platform of the urnas.  This means that the grada is structurally separate from the urna wherein one can simply lift and detach the urna and display it on its own. Of course, collectors do not like this because it would render the set incomplete.  Others however, would display the grada on their own as a wall decoration similar in treatment to those dismemebered calado from old houses.  Apart from the grada, there's the top carving (the term of which I do not know) and is also detachable from the urna.  Thus, if you have the three structures together, and they look as if they are not pieced together from different urnas ala Frankenstein, then you can command a good price for it.

Speaking of prices, I have noticed that 10k can get you a repro-kitch urna, while 15k-20k can get you an antique but grada-deficient urna while 35k-50k can get you a genuine (?) deal. But supply and demand can be a bitch, so prices tend to fluctuate. Years before there were a lot of urnas, a glut even, among Manila collectors. Now, you are lucky if you can find a minor piece. So deal or no deal?


I have learned from my online research that there are two types of urnas. One from Northern Luzon and the other from Bohol.  One of the few online people who frequent Pinoy antique forums is Mr. Romeo Allanigue better known among peers as "greyeminence". He commented that the two types of urnas are different in terms of design and structure. He said:

greyeminence's Ilocos urna. No grada here!

"...while most Bohol urnas are of molave due to its abundance in the island, Ilocos urnas are usually of narra. Boholano artisans applied paint directly on wood while the Ilocanos had it primed with gesso.  Bohol urnas look denser and generally, carvings are less refined while ilocos urnas seem lighter because of "calado"-like execution.  Ilocanos applied gold leaf more generously than boholanos - an impression i got from well preserved pieces i've seen."  He added: "While Bohol urnas had vermilion as predominant color, the ones from ilocos is turmeric yellow."

Furthermore, Mr. Alex R. Castro from the site "And All the Angels and Saints", concurred that "the province of Bohol is known for its very distinctive 19th c. urnas that are easily recognizable by their vivid polychromed colors and their simple structure, with parts out together by pegs and joints. Each piece is carved in low relief, with floral and vegetal motifs concentrated on the two side panels anchored with columns, the topperboard and the base."

I admire their insights and perspectives on this subject. It is disheartening to note that such a fascinating form of artwork is sorely lacking of good definitive literature. I hope some kindred soul similar to Cynthia Valdez or Jaime Laya would publish a master opus on this.


Going back to my acquisitions, I can safely say that these two definitely are from Bohol.  The patina is wonderful with the age of the wood showing.  Also the second smaller urna had its paint layers exposed indicating that this is unlikely a one-time painted antiqued counterfeit. On some spots I can even see gold leaf/gold paint jutting out of the vermillion layer. 

I think they are a keeper. And if you can find a good deal, get it.


Other examples of Philippine urnas can be seen here in Flickr:
http://www.flickr.com/search/?q=bohol%20urna

Price: Withheld

My Perfect Swatow Blue and White Bowl

 I went to another dealer yesterday, this time a more reliable and more knowledgeable one.  I was there to pick up my cache of metal age pottery when, as we were chatting, she decided to offer me one of her blue and whites- a nice perfect Swatow bowl.

I first thought she was kidding at first. The bowl was so tempting and she gave it to me at a beginner's price. The bowl itself was probably made in one of the Fujian kilns during the Ming dynasty (before the Ming Gap period), most likely in Zangzhou. This is why many of the Southeast Asian blue and whites came from Zangzhou. Westerners would vulgarly refer to this as "Kitchen Ming"

I love the luster and the sheen on this bowl. Although there's no cracleur to speak of, the kaolin glaze makes the surface unctuous and cool to the touch.  The thing that will clue you that this is a Swatow ceramic is the sandy particles that clung to the foot of the bowl. I also loved the "ram" decoration in cobalt blue.

 This is such a large bowl and a perfect one at that! The condition is perfect except for a hairline crack on the side.

You can check out onlinegalleries.com for an example of a similar bowl. I took the liberty to post that item's pics for easy comparison.  As you can see, it has the same perfect sheen, and a similar design. Its blurb says:

Ming blue and white Swatow bowl made for export. Well potted with a good white glaze to the outside and inside of the bowl. The only decoration is to the bottom of the inside where a quick painting of a qilin is decorated in underglaze blue. Made between 1550 -1600. Underneath there is a deep footrim with kiln grit still adhering to the edge.

This is definitely a keeper. Did you see the price? OMG. It makes one feel lucky to be living here in the Philippines.

Also, for more examples on this collectable ware, I would suggest reading Rita C. Tan's book, "Zangzhou Ware Found in the Philippines". You can order this from its publisher, ArtPostAsia. Highly recommended if you really are into serious collecting of this highly specialized category of antiques.

Acquisition cost of bowl: less than $100. Happy Antiquing!

An Annamese Covered Paste Jar

I am indeed grateful that the Philippines has no prior ceramic industry or else every piece of blue & white ware would become suspect of  being fake.  Hence, the chances of getting a fake export ceramic here in the province of Montemayor is minimal. So, whatever you find in your dealers' shops is most likely real diggings.

This one was acquired by one of my dealers and I've seen this languishing at the shop's curio cabinet for quite some time.  So, I've decided to haggle with my dealer.  Due to the blue-green restored area at the rim, my dealer gave it away for a very nice price.

Pictured above is my find. It is an Annamese blue and white covered box in a circular form with a flattened cover. It has a white stoneware crackled body decorated in cobalt blue underglaze with vegetal and geometrical patterns.  The box is glazed on the inside but has an unglazed interior on the foot. Unfortunately, a significant are on the rim has been "restored."  I hate that concept.  It dates to the 15th century, late Tran dynasty to Early Le dynasty. Usually these are only found in blue and white.  


According to Encarta,  " The area of South East Asia which is now North Vietnam played a significant part in porcelain production from the 14th to the 17th centuries, thanks to abundant supplies of feldspar and kaolin near Hanoi. The Annamese were using cobalt as early as the Chinese (14th century) and fine blue-and-white decorated porcelains were produced in Tho-ha and Bat Trang. The earlier wares closely imitated Chinese, but distinctive characteristics of decoration as well as potting technique had emerged by the 15th century when the best Annamese porcelains were produced. Among the distinctive Annamese products were circular covered boxes, and water droppers in the form of animals."


Due to the "restoration", I acquired this for $12. Happy antiquing!