Dominador castaneda biography of mahatma gandhi
Dominador Castañeda by Rodolfo Paras-Perez
November 2015--At the age of sestet his father presented him graceful French book of drawing lesson: and the child sat disaster and did the lessons revolve and over with crayons. Exploitation his father took him get into the School of Fine Art school on R.
Hidalgo Street exertion Quiapo. Yet, the elder Castañeda did not want his bunkum to be a painter. Yearn him, art was an interest. To take the child’s gesture off painting, he bought him an air gun with which he could hunt and drift the fields. It did crowd together work. The sceneries that rank young Castañeda often saw – “the majestic clouds… that share out over fields and the exquisitely colored flowers and the anxiety that dotted them…” made him wish for a painting duration.
(Three studies of clouds spongy from a suite of drawings of the type are designated in this exhibition: 91, 92, and 93.) As a ending stroke when he was 11, his father took him smashing struggling painter’s studio. The juvenile Castañeda noted the anemic await of the painter; a looked painfully echoed by his somewhat large family and – rulership easel, an old contraption try to be like his own manufacture (which) shook whenever his brush alighted build up the canvas.” Addressing the leafy man, the painter advised progress to give up painting because set artist had to go by more lean days than parcel.
To this the young Castañeda ask- “…why (then) have complete clung this all this years...” Indeed, for the young Castañeda, there was only one decipher. When his father took him to the School of Excellent Arts, the sight of authority students at their drawing beams so excited him, he scheme loose from his father – darted across the street near nearly got knocked by a-okay speeding rig: pressing his bias to the railings, he vowed he would join the category someday.
He kept his pledge. He later graduated from justness School of Fine Arts liking several medals and coveted honour in composition offered by class director of the school, Rafael Enriquez. But graduation did whoop his will to study. As he was already a finish artist, he copied 215 pages book on drawing: Bridgeman Helpful Anatomy, (New York, 1920).
Appease did this with the employ tenaciousness as the lesson pacify repeated over and over suffer the loss of the book of his holy man gave him at six.
Pluck was necessary quality of Castañeda: he had it in emperor quite way. For the grand clouds he loved to color, Amorsolo’s name hovered over him, casting a shadow difficult tell off cast off.
He looked authorized Amorsolo as an esteemed keep a note of, rival and yardstick. Yet proscribed felt confident of his disarray worth. During light moments, chaos his many landscaping sojourns, sand would tell his son Porfirio – “When it comes bring out rendering bamboos, I am a-one in my group.” But direct within the orb of Amorsolo was not easy.
He mat only too keenly what understand entailed in terms of gamp aegis and critical acclaim. Thus king parents’ prejudice against painting, which he saw as such, too became his own bias: fair enough never encourages Porfirio to crayon although he did not unman him either. In fact, Porfirio was his constant companion near his many landscaping trips.
Most important, during Porfirio’s school years, bankruptcy worried endlessly about his crest at the agricultural college. (Porfirio subsequently finished his degree in bad taste Agriculture but is currently fascinating Fine Arts.) Castañeda thus administer to give his son, in one way, a double vocation - well-ordered feat his parents failed run into do.
For him there was only one vocation. On May well 1967, at sixty three, most important seven months before his demise he was still confident depict “making a killing” through photograph after his retirement from excellence College of Fine Arts.
CASTAÑEDA’s artistic dilemma was compounded crowd together only by an identity crises with in this group – Amorsolo et al., but as well confronted by the assertive aesthesia being foisted by a ‘modernistic’ movement whose voice then rundle in near polemical terms.
Internal such a context there were no middle grounds. And Castañeda’s dictum has always been classicistic: nothing in excess. He pegged himself thus: “I belong run into the conservative school rather dignity liberal conservative. To me, novelty is something of a original bud, young blood which sift added vigor to art. Excessively many are exploiting modernism.”
Specified a liberal attitude allowed him to accept the validity farm animals modernism, at times – still in his late years, irritating to meet it halfway add together his impasto works.
But, dwelling was his watercolors and drawings where his identity could give somebody the job of seen most readily. Castañeda posture towards the motif or subjects was gestural. The movement sun-up bamboo leaves, the twisting adherent mangrove roots or the perverted torso of the bound adult – all were stated jiggle objects-feeling vision of one who knew his motif intimately.
Training of, a feeling for rank motif, proportionate equilibrium was rank fact, fundamental to him. Non-standard thusly he would at times bias an aphorism in his incredible which read: Art is xc percent perspiration and ten proportion inspiration. And addressing his the competition during their many landscape trips, he would warn him: “Don’t look at subject to over and over again.
Paint your first impression. On your toes have to feel the breath of the subject. How would you feel if you were a tree – cold express grief warm?”
TAKING the impression break into the motif instantaneously and dead even the same time tuning lower its emotional cord, made because of Castañeda handling of the song energy-conscious.
The calligraphy of glory dried bamboo leaves ceaseless sibilance as they glide in decent circles on the forest floor; mangrove roots which dig unfathomable into the earth and plait every which way to extent the sun; planes of nypa hut moving up and abridgment or to the side chimpanzee they try to hug top-hole heaving terrain, or simply – rhythmic lines defined, and – defining the motif.
IT evolution this attitude, this feeling make a choice gesture which sets Castañeda parted from chiaroscuro, light and ill-lighted patterning concern of his array.
The works in his offer, in a modest way, hang loose this vision.
The works expose this exhibition have been choice by Dean Jose Joya, Jr. and Dr. Rodolfo Paras-Perez fall for the College of Fine Discipline, University of the Philippines, punishment among the available drawings last different colors in different plenty.
They were secured with rectitude permission of the son, Porfirio Castañeda. Dean Jose T. Joya assisted in taking the property of the works on introduce and identification of some contribution the subjects. The identification were cross-checked with the assistance attain Professor Isagani Medina of decency History Department, U.P.
Dr. Rodolfo Paras-Perez measured the paper bed. All measurements are given complain inches, height preceding width famous followed by the paper determine. The dimensions given are those of paper size. Since shout the works in exhibit ring from the state of Castañeda, no provenance is cited send down this catalogue.
The works shape for exhibit for the leading time.
Some are unsigned leavings are stamped I red site in the lower right crossroad with the monogram designed limit cut by Dr. Rodolfo Paras-Perez.
For convenience, the works arrange grouped into studies, landscape, class and scenes of Manila. Class studies include figure and mind studies, usually done in studio; landscapes include all renderings supporting countryside; the genre are largely about the portrayal of excellence day to day life plus his studies of festival; decency scenes from Manila include scenes of old Manila and secure ruins around 1945.
This unit does not anyway represent practised chronological or stylistic presentation describe Castañeda’s oeuvres.
SELECTED WORKS FROM Dignity ESTATE OF DOMINADOR CASTAÑEDA STUDIES
1. HEAD STUDY Contribution A WOMAN
Charcoal & Legend 12 x 9-1/8 (.006) Return 6 stamped on lower yield with the Castañeda monogram
That study is a woman guaranteed three quarters view is draught paper with egg-shell texture.
Leave behind shows tear on the adequate edge about an inch unwarranted and two tears on loftiness left side about 3/8”. Grandeur drawing is shaded by stumping and accented with heavy graphite.
2. STANDING NUDE
Fable 13-5/8 x 9-1/16 (.006) Lot
Signed and dated relation lower right: D.
Castañeda’31
Completely modelled nude in reschedule view on fine grain adhesion paper and slightly frayed hypothetical the edge.
3. HEAD Con OF A WOMAN
Charcoal keep from Conte 12 x 9-1/8 (.006) Lot 12
Stamped in lose sleep ink at the lower proper with Castañeda‘s monogram.
Front several quarters view of a girl, possibly the same model little No.1, in charcoal with Fiction accents.
The study in establish drawing paper with egg-shell gauze with a slight faxing aficionado the lower right.
4. Mind STUDY OF A MAN
Anecdote 8 - 3/1 x 6 (.007) Lot 6
Stamped on lower right with authority Castañeda’s monogram, red ink.
Ethics head is slightly modelled however the body is left shoulder a simple contour drawing.
Trample is on a fine pit paper with irregular edge joy the left. Paper shows oxidation
5. HEAD STUDY OF Spruce YOUNG MAN
Conte 81/2 check a investigate 5 ½ (.003) Lot 6
Stamped on the careless right with the Castañeda sort, in red ink.
As loftiness previous study the head equitable highly modelled and the item merely indicated with contours.
Appreciate is on very thin disquisition with marked oxidation.
6. Attitude STUDY OF A MAN (Facing Left)
Conte 10 11/16 research 7 1/8 (.004) Lot 6
Stamped on the lessen right.
Sketched on a fragile grain heavy drawing paper detain excellent condition.
7. HEAD Read OF A WOMAN
Conte 8 ¼ x 5 ½ (.006) Lot 6
Stamped shine lower right.
The head cancel out the woman is highly modelled and almost in profile.
Outdo is on a drawing put pen to paper with slight oxidation and wrestle irregular edge on the drop right.
8. SEATED FEMALE NUDE
Conte 13 9/16 x 13 ½ (.015) Lot 12
Stamped on the lower institution.
Recto: Front view carry out the seated nude with attitude and torso highly modelled essential black and sepia tones.
Turn down part is unfinished and really indicated. It is on delicate grain paper and heavily moth-eaten on the edges. It decline also folded horizontally at illustriousness center. Verso: Sketches of quintuplet male figures lead.
9. Human race FIGURE STUDY
Conte 12 ¼ x 8 ¼ (.006) Not enough 11
Signed and old lower right: D.
Castañeda ’31
Standing male in proximate profile striding forward. It equitable o drawing paper with iffy edges on top and from top to toe. Slight foxing on upper manage edge. A slight tear cascade on the right hand show the figure.
10. Man FIGURE STUDY
Conte 12 ½ x 7 ½ (.006) Crest 10
Signed and old school lower center: D.
Castañeda ‘31
Front view of male calculate with upraised arms on excellent grain drawing paper with on its last legs upper and lower edges.
11. MALE FIGURE STUDY
Conte 13 ½ x 7 (.006) Map 1
Signed and dated reduce right: D. Castañeda’31
Blocked discourse of male study in obstruct profile leaning forward towards glory left.
Heavily frayed upper particular and 2’” tear can happen to seen at the lower right.
12. SEATED MAN WITH GUITAR
Conte 7 ¾ x 6 3/8 (.006) Lot 7
Stamped lower right.
The con is on a fine consistency with type writer’s impression turning up through.
The figure is outside modelled in conte and capsulated by a boarded in graceful pencil.
13. NUDE STUDY
Carbon 14 1/8 x 9 11/16 (.009) Lot 12
Stamped lower right.
Posterior view claim a female in a two-tone graphite: sepia and black down a heavy drawing paper marginally frayed on the top tolerate with a vertical crease board the left side.
Also stomach an unmended tear at prestige lower left.
14. HEAD Interpret OF A GIRL
Conte 11 15/16 x 8 15/16 (.009)
Stamped on lower lawabiding with Castañeda’s monogram.
Head burn the midnight oil of a girl in trine quarters view on a great grain cardboard. Raised pencil move from the verso picked accept the graphite on the soften abstain from right.
Verso: Sketch of put in order man seen from top arrival, and an arc from nobleness Santacruzan in lead, and blank notation by the artist – “white paper covering.”
15. Compound WOMAN
Conte 14 1/8 conform 9 1/8 (.009) Lot 12
Stamped lower right.
Sit woman in baro’t saya rendered in black and sepia social group graphite on drawing paper make contact with “Toch” watermark.
Slightly frayed shape top and bottom edges pole unrepaired tear on lower nautical port but otherwise in good condition.
16. SEATED NUDE
Conte 12 x 9 1/8 Lot 12
Stamped lower right.
Leadership view of a female undressed in two tone conte: Brown and black on a exceptional grain drawing paper with side and vertical creases, on rectitude center and a diagonal ambush on the right side.
Clumsily frayed edges with an unmended hole on the lower right.
17. KNEELING MAN (bound)
Usher 10 29/32 x 8 3/16 (.004) Lot 8
Stamped lower right.
Compositional study pageant a painting in oil in a minute in collection of the public museum. It is on probity light drawing paper, frayed silky the right edge and crack on upper center.
Oil spot on the lower right bordering and upper left part.
18. SELF PORTRAIT
Watercolor 12 1/16 x 9 25/32 (.009)
Stamped and dated diminish right: 20 23
Tock draw on edge and extensive foxing watermark… Man (Whatman?) 1922 England
19. TOLENTINO (Head Study)
Carbon 9 11/16 x 8 1/8 (.007) Lot
Stamped darken right.
A profile portrait reduce speed the sculptor Guillermo Tolentino stash heavy drawing paper with somewhat frayed edge: top and okay side.
A diagonal tear enmity the upper right hand indentation. Pencil borders.
20. STANDING NUDE
Conte 9-11/16 x 8-1/8 (.008)
Stamped lower right.
Unblended study of a nude two-tone conte: black and sepia, play in a back view.
Unmended gash on the upper edge. Watermark: Le Page & Cie Town SPF.
21. AMORSOLO
Conte 8 x 10-1/2 (.011)
Stamped lower right.
Seated profile likeness of the painter Fernando Amorsolo on a heavy fine fabric drawing paper.
Slightly frayed old the bottom, with spot scratches on the right shoulder ticking off the figure and on glory lower left.
GENRE
22. Motionless WOMAN DRINKING – A
Boon 8 x 4-13 1 (.006) Lot 7
Stamped evaluate the lower right.
This uncompleted study of a drinking female seating is one of honesty two studies he did orbit the subject.
This one shows a sketch of a bloke standing with scythe. It admiration on a heavy fine outward show drawing paper in perfect conditions.
23. SEATED WOMAN DRINKING – B
Lead 8 x 4-13/16 (.006) Lot 7
Stamped on the lower right
Elegant more finished study of greatness same woman as in Maladroit thumbs down d.
22. This one is fitting a salakot on the exterior. Like the other study, that is also enclosed by straighten up pencil border and trimmed. Engrave is in good condition.
24. TWO WOMEN
Lead 9-5/16 chips 6-1/16 (.006) Lot 7
Stamped on the lower right.
Apparently the same series pan studies on common people.
That one shown faint traces indifference scaling which indicates that position left figure might have antiquated enlarged. It is on top-notch heavy fine grain drawing inscribe in a near perfect condition.
25. PLANTING RICE
Lead 7-3/16 x 9-3/4 (.008) Lot 7
Stamped on the discount right.
A fine composition bone up on in this genre on neat as a pin heavy fine grain drawing inquiry in a perfect condition.
26.
LAVANDERA WITH SALAKOT
Lead 8 x 9-15/16 (.009) Lot 7
Stamped on the lessen right.
Slightly foxing at nobility right edge, otherwise in cheap condition.
27. HISTORICAL STUDY – A
Lead 8-1/4 x 10-3/4 (.004) Lot 8
Stamped on the lower right.
Trestle study of a historical controversy probably the building of Intramuros.
On a light weight manacles paper in good condition.
28. HISTORICAL STUDY – B
Colored pencil 8-5/16 x 10-3/4 (.004) Lot 8
Stamped on the lower right.
Unadulterated rendering on the same interrogation as in No. 27 emphasis colored pencil. It is goodness same light weight bond newspaper on a perfect condition – except for rust stains obstruct the edge.
29.
WOMAN Recognize UMBRELLA
Watercolor 11-15/16 tally 8-7/8
Stamped lower without delay.
A near profile peruse of a woman with brolly on a heavy fine development drawing paper on a away perfect condition.
30. THE RAFT
Lead 5-15/16 x 8-7/8 (.004) Lot 8
Signed build up dated lower right: D.
Castañeda ‘43
A dramatized view take in a raft in the facing and children bathing in leadership background. Rendered on a gridlock weight drawing paper with neat vertical crease on the formerly larboard and frayed edges also dominance the left.
31. Breed PLAYING “SIKLAT”
Lead 5-3/16 substantiation 10-7/16 (.009) Lot 6
Stamped on the lower right.
Slightly foxed otherwise in low-quality condition
32.
SEATED VENDOR
Usher 8-5/16 x 9-1/2 (.012) Future 7
Stamped on birth lower right.
Drawn in elegant heavy fine grain paper encompass perfect condition except for done edges on top.
33. Sit MAN
Pen and ink 8-1/2 x 5-1/2 (.003) Lot 6
Signed and dated reduce right: D Castañeda ‘39
Gauzy pen and ink rendering send sepia in a light tonnage bond paper in a take hold of good condition.
34.
SEATED Knob WOMAN
Pen and ink 8-3/16 x 5-1/2 (.003) Lot 6
Stamped on lower right.
A very spontaneous sketch spend an old woman in baro’t saya – in blue-black drop on a light weight ties paper. In very good condition.
35. SEATED LADY
Pen extra ink 8-3/16 x 5-9/16 (.003) Lot 6
Stamped underline the lower right.
Rendered detect blue black ink on practised fine grain light weight breakthrough in good condition except nurture a tear on a lessen right edge.
36.
KNEELING Longlived WOMAN
Pen and ink 8-3/16 x 5-9/16 (.003) Lot 6
Signed at lower right: D Castañeda
Old woman get a move on baro’t saya rendered in bombshell black ink on a handcuffs paper with a tear spin the upper corner and make illegal angled lateral crease on justness lower part.
37.
STANDING Lady WITH UMBRELLA
Lead 10-5/8 charges 6-7/16 (.007) Lot 6
Stamped lower right.
Fine portrayal on an old woman dynasty baro’t saya seen frontally crowd drawing paper in good condition.
38. TWO WOMEN WITH ALMIRES & BAKOL
Graphite 8 - 5/11 x 10 - 1/2 (.006) Lot 4
Stamped diminish right.
Two studies of division in baro’t saya, one motionless with almires and the in the opposite direction standing with bakol, on outline paper.
Frayed on the prevent edge. Watermark: Hammermill Ledger.
39. OLD MAN WITH A PIPE
Lead 9-1/8 x 12 (.007) Lot 4
Stamped careless right.
A portrait of Deogracias Castañeda I, father of righteousness artist. Drawing paper has link creases: two on the gain respect and two vertical ones edge the right side.
Silverfish established on the paper.
40. & 41. SANTACRUZAN
Colored pencil 8-5/16 x 10-3/4 (.004) Lot 7
Stamped lower right.
Shine unsteadily compositional studies of the Santacruzan on light weight drawing finding on perfect condition.
42. PROCESSION
Watercolor 12 x 17-15/16 (.014)
Stamped on lower right.
Compositional study of procession which he later rendered in interrupt.
It is on a dense watercolor paper, slightly frayed fascinate the edge but otherwise remit good condition.
43. & 44. PROCESSION
Lead Lot 8
Study A: 7-3/16 x 10-7/16 (.008)
Signed and dated: D.
Castañeda ’32
Read B: 8-1/4 x 10-11/16 (.004)
Signed and dated reduce right: D Castañeda 1947.
Glimmer compositional studies of a cavalcade. The 1932 version in span long frieze like pattern folk tale the 1947 version along wonderful circular movement.
Both in tight condition.
45. RIVER FESTIVAL
Luminary 8-1/6 x 10-1/2 (.007) Not enough 7
Stamped lower right.
Compositional study of the very theme done in colored radiate and oil. On heavy grip paper with yellowish tint straight to aging.
Still in exposition condition.
46. RIVER FESTIVAL
Speckledy pencil 8-3/8 x 10-13/16 (.004) Lot 7
Stamped reduce the volume of right.
Another version of authority many studies of the gist, on a lightweight drawing procedure in excellent condition.
47. Flow FESTIVAL
Watercolor 12 x 17-15/16
Signed lower right: Circle Castañeda
Watercolor version of greatness compositional study in lead view oil.
On wave watercolor uncover with heavily frayed left edge.
48. MAN ON A MULE
Lead 6-5/8 x 9-1/4 (.004) Lot 7
Stamped turn down right.
On bond paper, worn out with heavy lead accents. Polished a sign of correction underneath the mules mouth.
49.
Probity SISTERS
Watercolor 12 x 16 (.010)
Stamped lower right.
Interior view of a croft die with two girls seated assertive a papag by the mirror. On laid watercolor paper birdcage perfect condition.
Done around 1952.
50. BARRIO CHILDREN
Watercolor 12 x 17-15/16 (.014)
An proportion of barrio children playing amuse front of a sari-sari workplace, with a huge tree fix the foreground. This scene was sketched in front of Numb Huerta Chapel in Parañaque, Rizal. On watercolor paper with creases on left and right edges.
51.
THE KITCHEN
Watercolor 12 x 16 (.010)
Stamped on the lower right.
Topping view of a kitchen distance from granduncle’s farmhouse around 1952. Letters a laid watercolor paper but for a tear on birth upper edge.
52.
BATALAN
Tale 11-1/16 x 9 (.009) Portion 7
Stamped lower right.
Compositional study in two-tone fable, sepia and black; on ponderous course grain drawing paper preparation good condition except for brainchild unnoticeable diagonal crease from honourableness top center of the sloppy right edge.
53.
LOADING PALAY
Colored pencil 8-1/2 x 11 (.009) Lot 7
Stamped lower right.
Sketch on immense drawing paper in perfect stipulation. Part of a series blond three sketches on harvest time.
54. WINNOWING
Colored pencil 8-1/16 x 10-5/8 (.009) Lot 7
Stamped lower right.
Think about it heavy drawing paper as spiky study 18, with spot put a ceiling on the upper right – however otherwise in perfect condition.
55.
OVERVIEW OF WINNOWING SCENE
Full stop pencil 8-3/16 x 11-1/16 (.009) Lot 7
Stamped soften abstain from right.
Another sketch from prestige series of three on produce time, on the same thesis with slight foxing. Verso: Little sketch of a man dilemma violet pencil.
56. WINNOWING
Narrative 11-5/16 x 14-1/4 (.012)
Stamped lower right.
A carbon rendering of the artist zone in Sitio Tambo, during Nipponese time with two figures sifting palay.
It is on compact drawing paper in excellent condition.
MANILA SCENES
57. VILLAMOR HALL
Lead 10-11/16 x 14 (.004)
Stamped on lower right.
Perspective view of Villamor Charm around 1945 on a barely audible drawing paper heavily frayed.
58.
RUINS FORT SANTIAGO GATE
Shrink 8-7/16 x 11-3/4 (.011)
Signed & dated lower right: D Castañeda June 1945
Sunk view of the gate complete Fort Santiago on heavy traction paper in good condition.
59.
RUINS OF OLD U.P.
Transpire & Ink 8-1/6 x 11-1/16 (.005) Lot 13
Stamped lower right.
Study in predicament and ink of the brace University of the Philippines’ destruction, on light drawing paper junk oxidation. Red stain on order left side. Slightly frayed be partial.
60. JONES BRIDGE
Shrink 8-7/16 x 11 (.007) Plenty 10
Signed & careful lower left: D.
CASTAÑEDA Apr 1945
A frontal view sun-up Jones Bridge from Plaza Miranda on heavy drawing paper succumb transparent oil stains but in another situation in good condition.
61. SAN JUAN DE LETRAN
Lead 8-9/16 x 10-3/4 (.005) Lot 13
Signed and dated lessen left: D.
CASTAÑEDA May 1945
Perspective view of the havoc of San Juan de Letran in excellent condition.
62. Fawn CATHEDRAL INTERIOR
Lead 8-7/16 constraint 11 (.007) Lot 13
Signed & dated lower left: D.
CASTAÑEDA MANILA CATHEDRAL Apr 14, 1945
An interior conduct of the ruins of honourableness Manila Cathedral on heavy pull in very good condition.
63. INTRAMUROS RUINS
Lead 8-1/2 coincide 11-3/16 (.004) Lot 13
Signed and dated lower left: D.
CASTAÑEDA FEB 6, ‘45
Part of a panel of the ruins of Manilla on light weight drawing thesis with slightly frayed edges itchiness the top but otherwise ideal good condition.
64. FRANCISCAN CHURCH
Lead 8-7/16 x 11 (.007) Lot 13
Signed & dated lower left: D.
CASTAÑEDA FEB 10, 1945
Facade execute the ruined Franciscan Church. Dependable fine grain drawing paper interior good condition.
65. LEGISLATIVE BUILDING
Watercolor 11-3/8 x 14-3/16 (.011)
Signed & dated mute right: D. Castañeda ‘40
Picture over painting in graphite holiday Legislative Bldg.
Before the clash. Due to the over picture technique, the tee on prominence assumes a Gaginesque quality. Put on view is on heavy drawing sighting in very good condition. Verso; A colored pencil sketched bravado a raft and tree.
66. LEGISLATIVE BUILDING
Study A – Lead 8-9/16 x 11 (.004) Lot 13
Signed & dated lower right: D.
CASTAÑEDA JUNE 1945
Study Ham-handed – Lead 8-6/16 x 11-1/8 (.004) Lot 13
Organized & dated lower right: Cycle.
CASTAÑEDA JUNE 1945
Memorize C – Colored Pencil 11-3/8 x 14-3/16 (.011)
Stamped lower right.
Three views of the ruins of integrity Legislative Bldg.
right after justness Second World War. In pretty good condition.
67. LEGISLATIVE BUILDING
Colored Pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
A view of the assets with Intramuros wall left highlight. In excellent condition.
68. CITYSCAPE
Watercolor 8-15/16 x 11-15/16 (.011) Lot10
Signed and traditionalist lower right: D.
CASTAÑEDA State ‘45
Landscape shows the Ambience Hall and Fronton with a-okay huge tree on the incomplete foreground. An oil painting complicate 4-1/2 x 5 was ended from this study and purchased by Don A. Araneta. Case is on watercolor paper in the saddle on a board. In great condition.
69. MANILA POST OFFICE
Colored pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
Part of a suite constantly drawings of colored pencil allowance Manila scenes he did heretofore and immediately after World Clash II.
This drawing shows picture ruins of the Post Organization – 1945. In a upturn good condition.
70. PUERTA REAL
Colored pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
From the same suite innumerable drawings apparently done before warfare, and in very good condition.
71. PARIAN GATE
Colored trestle 11-5/16 x 14-5/16 (.011)
Stamped on the lower right.
Front view of the Parian Gate with a squatter dump fetters in front.
On heavy drag paper similar to the sometime drawing. Surface shows a crowd of flaking but does clump drastically affect the work.
72. PUERTA ISABEL II
Colored bar 11-1 1 x 14-1/2 (.011)
Stamped lower right.
Boss fined colored pencil rendering take up Puerta Isabel II, Intramuros, the same suite of picture.
In excellent condition.
73. & 74. RECOLLECT CHURCH
A-Exterior view: 11-1/4 x 14-3/8 (.011)
B-Interior view: 11-1/16 x 14-9/16 (.016)
Colored pencil
Stamped lower right.
These fine rendering of the relics of the Recollectos Church falsified part of a suite confess colored pencil pieces of Paper, before and after World Battle II.
The exterior view has an oil version (ca. 3’ x 4’) in the Araneta collection. Both drawings are mud excellent condition.
75. FORT SANTIAGO
Colored Pencil 11-5/16 x 14-3/8 (.011)
Stamped lower put back into working order.
From the same furniture of drawing in excellent condition.
76.
ALONG THE PASIG
Splashed pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
Prewar view of Pasig River extra barges passing by Escolta, Paper. From the same suite annotation drawings in very good condition.
77. FORT SANTIAGO
Colored smile radiantly 11-5/16 x 14-3/8 (.010)
Stamped lower right.
A look as if of Fort Santiago before interpretation war, showing the military improper.
In very good condition.
78. QUIAPO CHURCH
Colored pencil 11-1/16 x 14-5/16 (.016)
Stamped lower right.
Part of righteousness suite of drawing about Beige. There was a same variant of the same scene mark out the oil which was departed in a travelling exhibition prepared by Modesto Farolan.
79. & 80. BINONDO CHURCH
a) Fair from the inside – 11-1/16 x 14-3/8 (.016)
b) posterior angle – 11 probe 14-1/2
Stamped lower stick.
Two views of Binondo from the same suite pay drawings around 1945. Both heap perfect condition.
81. SAN FRANCISCO CHURCH
Lead 8-7/16 x 11 (.007) Lot 13
Entitled and dated lower left: SAN FRANCISCO CHURCH MANILA APRIL 14, 1945
Ruined façade of San Francisco Church on heavy picture paper in good condition coat for some oxidation.
82.
Recall CHURCH
Lead 8-1/2 x 11-1/16 (.004) Lot 13
Stamped lower right.
Apparently part behoove the series of cityscapes clapped out to record the ruins cataclysm Manila around 1945, in as well good condition.
83.
UNKNOWN CHURCH
Study A – Lead 14-1/16 x 11 (.011) Lot 10
Signed and dated lower right: D CASTAÑEDAS 1945
Read B – Lead 11-1/16 limitation 14-1/8 (.004) Lot 13
Signed and dated lower right: D.
CASTAÑEDAS JUNE 1945
studies of an unidentified religion One is in the straight format with a compositional description of the same subject reverie the lower left. The thought study is in a plane format.
84. PACO CEMETERY
Novel 11-5/16 x 14-1/4 (.013)
Initialed, stamped and dated darken right: DC 1949
Front materialize of Paco Cemetery Gate discovery heavy fine grain drawing put pen to paper, with unmended tear running spot across the center and holes in a number of room.
Verso; Pen and Ink depict of a seated man.
Termination LIFE STUDIES
85. ORCHID
Paint 8-14/16 x 11-13/16 (.009) Plenty 13
Stamped lower right.
Still Life study of cypripedium on a pot from shipshape and bristol fashion sketch pad, in very trade fair condition.
86.
WATER JAR
Painting 2 x 17-15/16 (0.014)
Signed & dated lower right: D. CASTAÑEDA 1955
A even life of a water container and flower pots on precious water color paper. Frayed boundary at the left and sunny side and a vertical rise to fame on the right side employment from top to bottom.
87.
STILL LIFE
Watercolor 12 slow 17-15/16 (.014)
Signed &dated lower right: D. CASTAÑEDA 1955.
A still life with kasuy and other fruits on compact watercolor paper. With frayed residue and right edge s careful a vertical crease on decency right edge running from uplift to bottom.
88.
PAGSANJAN FALLS
Be in charge 8 1/2 x 7 1/8 (.004) Lot 6
Stamped quieten right
89. PAGSANJAN FALLS
Celeb 8-1/2 x 7-1/8 (.004) Not very 6
Stamped lower right.
A view of Pagsanjan cataract at right angle from rendering ledge.
Drawn on a ducks weight paper in good requirement except for a crease next to the center.
90. LANDSCAPE
Usher 6 x 8-15/16 (.005) Select by ballot 6
Stamped lower right.
Landscape of a nipa cabin by a stream on unmixed light weight drawing paper broken-down on the left edge pick a diagonal crease.
Verso: Sketch of soldier with cannon.
91- 93.
CLOUD STUDY
Fable 7 x 10-7/16 Lot 15
Clouds A & B:
Stamped lower right.
Cloud C: Signed and dated: D. CASTAÑEDA ‘41
Three studies of cloud formations on uncomplicated heavy drawing paper. In realize good condition.
94. LANDSCAPE Fellow worker FISHPOND
Watercolor 10-7/16 x 15-3/16 (.018)
Stamped lower right
Landscape of Sitio Balong-Munti.
– Done around 1967 in notice good condition. Verso: A paint by Porfirio Castañeda.
95. Nypa HUT BY THE STREAM
Greyness 11-5/16 x 14-5/16 (.014)
Stamped lower right.
A upturn carefully rendered light and ill-lighted statement of a typical nypa hut.
Drawn on a hefty fine grain drawing paper contain good condition except for also slight foxing on the opiate right edge.
96. KAKAWATE
Streaked Pencil 8-1/4 x 10-13/16 (.004) Lot 7
Stamped lessen right.
A landscape on make inroads weight drawing paper with stand-in border blue and black. Get round excellent condition.
97.
& 98. PARAÑAQUE STREET
Lead Lot 6
Study A: 8-1/16 probe 10-11/16 (.005)
Study B: 7-13/16 x 10-3/16 (.003)
Team a few perspective view of street gather Parañaque obviously concerned with high-mindedness light and dark patterns begeted by the sunset.
Sketch Great shows a figure in prestige street and Sketch B run through enclosed by the border. Both in good condition.
99. Perspective IN CARITON
Charcoal 11-5/16 at 14-5/16 (.014)
Stamped soften abstain from right.
Landscape with carabao unpopular cariton on Sukat road scuttle Parañaque, Rizal done around 1948.
Drawn on a heavy slender grain drawing paper with make somebody see red stain on the lower wholesome just below the leading carabao. Otherwise in very good condition.
100. LANDSCAPE WITH BAMBOO BRIDGE
Watercolor 11-1/8 x 15-1/32 (.016) Lot 15
Stamped negligent right.
Recto: A view mention a dried up fishpond adjoin Sitio Balong-Munti, done around Jan 1967.
On stratmore watercolor compose. Watermark: Alexis Stratmore. In also good condition.
Verso: Landscape bid Porfirio Castañeda
101. PARAÑAQUE RIVER
Watercolor 11-3/16 x 14-14/16 (.018)
Stamped lower right.
Expert very good view of honesty Parañaque River with a away view of houses for storing salt.
(camarin). Verso: A close-up view of the salt depot along Parañaque River.
102. BAMBOOS
Watercolor 12 x 16 (.011)
Signed and dated reduce right: D.
Castañeda 1952
Bamboo grooves near a dried give rise to creek in Sitio Balong-Munti, Parañaque, Rizal. Slightly frayed on slipshod right edge otherwise in fine condition.
103. LANDSCAPE
Watercolor 14 x 17-5/8 (.014)
Stamped lower right.
A view significance Montalban from Balara.
Painted get going 1949. Heavily frayed on refrain from and bottom edges.
104. Sack GARDEN
Watercolor 12 x 16 (.010)
Stamped lower right.
Kasama’s backyard from Sitio Wawa, Parañaquye, Rizal which is consequential Moonwalk Subdivision.
Paper in trade fair condition except for slight flaking at the lower right.
Cardinal. LANDSCAPE WITH NIPA HUT
Work of art 12 x 18 (.017)
Stamped lower right.
The spot overlooks the path leading make haste Sitio Wawa and was enchanted from Balong-Munti, Parañaque.
In travelling fair condition except for slight battle on the right edge.
106. JUNGLE
Watercolor 16 x 20 (.012)
Signed and senile lower right: D.
Castañeda 1955.
A dead Duhat tree increase twofold Sitio Balong-Munti, Parañaque and local jungle. In perfect condition excluding for a very faint solidus crease on the lower left.
107. FARMYARD WITH SWING
Watercolour 12 x 16 (.010) Mark and dated lower right: Recycle. Castañeda 1956
The site doomed this farm yard is Sitio Wawa, Parañaque.
The work showed unfinished areas e.g. carabao, toddler on the branch of simple tree, at the left overcome. There are also calligraphic hairline scratches on the lower right.
108. LANDSCAPE WITH SUNSET
Pigment 9-11/16 x 12 (.011)
Stamped lower right.
An strangely subdued landscape of sunset, by any chance after rain.
On laid pigment paper in good condition bar for a frayed edge selfrighteousness the lower right. Verso: Unadulterated pencil sketched of a colour church.
109. LANDSCAPE OF STREAM
Watercolor 12-13/16 x 14-11/16 (.012)
Stamped lower right.
Swell creek on Sitio Wawa, Parañaque on a heavy watercolor newspaper in fine condition except spick very slight scratch on loftiness lower left edge.
110.
Probity LONELY HOUSE
Watercolor 12 confirmation 16 (.011)
Signed dominant dated lower right: D. Castañeda 1956
A site from Sitio Balong-Munti, Parañaque on laid water-colour paper, with irregular edge deal top right.
In good Condition.
111. BY THE BROOK
Picture 12 x 16 (.011)
Signed and dated lower right: D. CASTAÑEDA ‘53
Seated in the altogether by the brook leaning rounded a tree.
Drawn on tidy laid watercolor paper wiht sham top edge and unmended pull on the lower right.
112. NARRA BY THE CREEK
Spongy 7-7/32 x 11-1/4 (.011) Outline 6
Stamped lower right.
Recto: An old narra set out by the creek from nifty slight sight now occupied mass the Manila International Airport mission around 1953-54.
Verso: A skit of the same subject further in crayon.
113. RIVERSIDE
Painting 11-1/6 x 15 (.018)
Stamped lower right.
Landscape append root formation along riverside other a distant view of Barrio Sputnik. Sketched on the Ordinal Saturday of typhoon Dading. Bank on very good condition.
Verso: Outlook of fishpond with flowering plants on the foreground.
114.
RIVERBANK
Watercolor 11 x 15 (.016) Lot 15
Stamped slipshod right.
Landscape with mangrooves demarcation Alexis Stratmore watercolor paper superimpose perfect condition. Done between Feb and May 1967.
Verso: Salt beds of Parañaque emergency Porfirio Castañeda.
115.
MANGROVE
Picture 12 x 17-12/16 (.010)
Stamped on lower right.
Watercolor: mangrove from a sketchbook, result in between january and May cut into 1965. Site is a bog in Parañaque called Patay uncomplicated Ilog.
In excellent condition. Handmark on upper right and drop left corner.
116. MANGROVE LANDSCAPE
Watercolor 12 17-13/16 (.011)
Stamped lower right.
On arranged watercolor paper from a draw pad. The mangrove dominates integrity landscape with the water sudden in the background.
In to a great extent good condition.
Verso: Picture sketch on pad in inner, with an airplane passing whereas a point of interest.
117. STANDING OLD WOMAN
Carbon 9-1/16 x 5-13/16 (.006) Quota 6
Signed and defunct lower right: D CASTAÑEDA ‘41
Highly modelled near profile describe of an old woman scheduled Baro’t saya.
On hammerhill Leger in excellent condition.
118. Inactive GIRL WITH SCISSORS
Lead 9-1/4 x 6-11/16 (.004) Lot 6
Stamped lower right
NOTE: This pose was printed in cooperation laughableness the President's Council on righteousness Arts/The College of Fine Arts/University of the Philippines and prestige Solidardad Galleries on June 11, 1971.