Purveyor of Knowledge and Emerging Publisher of Content and Visually Driven Books
December 26, 2024


Printer Friendly Version
Download PDF



Dominador Castañeda by Rodolfo Paras-Perez



November 2015--At the age of six his father presented him a French book of drawing lesson: and the child sat down and did the lessons over and over with crayons. Then his father took him to the School of Fine Arts on R. Hidalgo Street in Quiapo. Yet, the elder Castañeda did not want his son to be a painter. For him, art was an avocation. To take the child’s mind off painting, he bought him an air gun with which he could hunt and roam the fields. It did not work. The sceneries that the young Castañeda often saw – “the majestic clouds… that hang over fields and the richly colored flowers and the butterflies that dotted them…” made him wish for a painting career. (Three studies of clouds effect from a suite of drawings of the type are included in this exhibition: 91, 92, and 93.) As a final stroke when he was eleven, his father took him a struggling painter’s studio. The young Castañeda noted the anemic look of the painter; a looked painfully echoed by his rather large family and – his easel, an old contraption of his own manufacture (which) shook whenever his brush alighted on the canvas.” Addressing the young man, the painter advised to give up painting because an artist had to go through more lean days than plenty. To this the young Castañeda ask- “…why (then) have you clung this all this years...” Indeed, for the young Castañeda, there was only one answer. When his father took him to the School of Fine Arts, the sight of the students at their drawing boards so excited him, he cut loose from his father – darted across the street and nearly got knocked by a speeding rig: pressing his face to the railings, he vowed he would join the students someday. He kept his promise. He later graduated from the School of Fine Arts with several medals and coveted prize in composition offered by the director of the school, Rafael Enriquez. But graduation did not his will to study. When he was already a professional artist, he copied 215 pages book on drawing: Bridgeman Constructive Anatomy, (New York, 1920). He did this with the same tenaciousness as the lesson he repeated over and over from the book of his father gave him at six.







TENACIOUSNESS was necessary quality of Castañeda: he had it in his quite way. For the majestic clouds he loved to paint, Amorsolo’s name hovered over him, casting a shadow difficult to cast off. He looked at Amorsolo as an esteemed friend, rival and yardstick. Yet he felt confident of his own worth. During light moments, on his many landscaping sojourns, he would tell his son Porfirio – “When it comes to rendering bamboos, I am tops in my group.” But living within the orb of Amorsolo was not easy. He felt only too keenly what it entailed in terms of patronage and critical acclaim. Thus his parents’ prejudice against painting, which he saw as such, also became his own bias: he never encourages Porfirio to paint although he did not discourage him either. In fact, Porfirio was his constant companion during his many landscaping trips. And, during Porfirio’s school years, he worried endlessly about his stature at the agricultural college. (Porfirio subsequently finished his degree in Agriculture but is currently taking Fine Arts.) Castañeda thus manage to give his son, somehow, a double vocation - a feat his parents failed to do. For him there was only one vocation. On May 1967, at sixty three, and seven months before his death he was still confident of “making a killing” through painting after his retirement from the College of Fine Arts.



CASTAÑEDA’s artistic dilemma was compounded not only by an identity crises with in this group – Amorsolo et al., but also confronted by the assertive sensibility being foisted by a ‘modernistic’ movement whose voice then spoke in near polemical terms. Within 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 to the conservative school rather the liberal conservative. To me, modernism is something of a new bud, young blood which give added vigor to art. Unfortunately many are exploiting modernism.”

SUCH a liberal attitude allowed him to accept the validity of modernism, at times – even in his late years, trying to meet it halfway with his impasto works. But, it was his watercolors and drawings where his identity could be seen most readily. Castañeda attitude towards the motif or subjects was gestural. The movement of bamboo leaves, the twisting of mangrove roots or the twisted torso of the bound man – all were stated with objects-feeling vision of one who knew his motif intimately. Knowledge of, a feeling for the motif, proportionate equilibrium was in fact, fundamental to him. Thus he would at times tack an aphorism in his class which read: Art is ninety percent perspiration and ten percent inspiration. And addressing his son during their many landscape trips, he would warn him: “Don’t look at subject to often. Paint your first impression. You have to feel the atmosphere of the subject. How would you feel if you were a tree – cold or warm?”



TAKING the impression of the motif instantaneously and at the same time tuning on its emotional cord, made by Castañeda handling of the motif energy-conscious. The calligraphy of the dried bamboo leaves ceaseless hissing as they glide in endless circles on the forest floor; mangrove roots which dig deep into the earth and twist every which way to reach the sun; planes of nipa hut moving up and down or to the side as they try to hug a heaving terrain, or simply – rhythmic lines defined, and – defining the motif.

IT is this attitude, this feeling for gesture which sets Castañeda apart from chiaroscuro, light and dark patterning concern of his group. The works in his exhibition, in a modest way, celebrate this vision.

The works in this exhibition have been selected by Dean Jose Joya, Jr. and Dr. Rodolfo Paras-Perez of the College of Fine Arts, University of the Philippines, from among the available drawings and different colors in different lots. They were secured with the permission of the son, Porfirio Castañeda. Dean Jose T. Joya assisted in taking the dimension of the works on exhibit and identification of some of the subjects. The identification were cross-checked with the assistance of Professor Isagani Medina of the History Department, U.P. Dr. Rodolfo Paras-Perez measured the paper thickness. All measurements are given in inches, height preceding width and followed by the paper gauge. The dimensions given are those of paper size. Since all the works in exhibit are from the state of Castañeda, no provenance is cited in this catalogue.

The works are for exhibit for the first time. Some are unsigned pieces are stamped I red ink in the lower right corner with the monogram designed and cut by Dr. Rodolfo Paras-Perez.

For convenience, the works are grouped into studies, landscape, genre and scenes of Manila. The studies include figure and head studies, usually done in studio; landscapes include all renderings of countryside; the genre are mostly about the portrayal of the day to day life including his studies of festival; the scenes from Manila include scenes of old Manila and its ruins around 1945. This grouping does not anyway represent a chronological or stylistic presentation of Castañeda’s oeuvres.

SELECTED WORKS FROM THE ESTATE OF DOMINADOR CASTAÑEDA STUDIES
 
1. HEAD STUDY OF A WOMAN
Charcoal & Conte 12 x 9-1/8 (.006) Lot 6 stamped on lower right with the Castañeda monogram
This study is a woman in three quarters view is drawing paper with egg-shell texture. It shows tear on the right edge about an inch ling and two tears on the left side about 3/8”. The drawing is shaded by stumping and accented with heavy graphite.

2. STANDING NUDE                                              
Conte 13-5/8 x 9-1/16 (.006) Lot                                        
Signed and dated on lower right: D. Castañeda’31    
Completely modelled nude in back view on fine grain drawing paper and slightly frayed on the edge.

3. HEAD STUDY OF A WOMAN
Charcoal and Conte 12 x 9-1/8 (.006) Lot 12
Stamped in red ink at the lower right with Castañeda‘s monogram.
Front three quarters view of a woman, possibly the same model as No.1, in charcoal with Conte accents. The study in on drawing paper with egg-shell texture with a slight faxing on the lower right.

4. HEAD STUDY OF A MAN
Conte 8 - 3/1 x 6 (.007) Lot 6      
Stamped on lower right with the Castañeda’s monogram, red ink.
The head is slightly modelled but the body is left in a simple contour drawing. It is on a fine grain paper with irregular edge on the left. Paper shows oxidation

5. HEAD STUDY OF A YOUNG MAN
Conte 81/2 x 5 ½ (.003) Lot 6 
Stamped on the lower right with the Castañeda monogram, in red ink.
As the previous study the head is highly modelled and the body merely indicated with contours. It is on very thin paper with marked oxidation.

6. HEAD STUDY OF A MAN (Facing Left)
Conte 10 11/16 x 7 1/8 (.004) Lot 6
Stamped on the lower right.
Sketched on a fine grain heavy drawing paper in excellent condition.



7. HEAD STUDY OF A WOMAN
Conte 8 ¼ x 5 ½  (.006) Lot 6
Stamped on lower right.
The head of the woman is highly modelled and almost in profile. It is on a drawing paper with slight oxidation and with irregular edge on the lower right.

8. SEATED FEMALE NUDE
Conte 13 9/16 x 13 ½ (.015) Lot 12
Stamped on the lower right.
Recto: Front view of the seated nude with head and torso highly modelled in black and sepia tones. Lower part is unfinished and merely indicated. It is on fine grain paper and heavily frayed on the edges. It is also folded horizontally at the center. Verso: Sketches of five male figures lead.

9. MALE FIGURE STUDY
Conte  12 ¼ x 8 ¼ (.006) Lot 11        
Signed and dated lower right: D. Castañeda ’31
Standing male in near profile striding forward. It is o drawing paper with irregular edges on top and bottom. Slight foxing on upper right edge. A slight tear falls on the right hand of the figure.  

10. MALE FIGURE STUDY
Conte 12 ½ x 7 ½ (.006) Lot 10        
Signed and dated lower center: D. Castañeda ‘31
Front view of male figure with upraised arms on fine grain drawing paper with frayed upper and lower edges.

11. MALE FIGURE STUDY
Conte 13 ½ x 7 (.006) Lot 1
Signed and dated lower right: D. Castañeda’31
Blocked treatment of male study in near profile leaning forward towards the left. Heavily frayed upper edge and 2’” tear can be seen at the lower right.

12. SEATED MAN WITH GUITAR
Conte 7 ¾ x 6 3/8 (.006) Lot 7        
Stamped lower right.
The study is on a fine grain with type writer’s impression showing through. The figure is broadly modelled in conte and enclosed by a boarded in a pencil.

13.  NUDE STUDY
Graphite 14 1/8 x 9 11/16 (.009) Lot 12      
Stamped lower right.
Posterior view of a female in a two-tone graphite: sepia and black in a heavy drawing paper slightly frayed on the top and with a vertical crease on the left side. Also with an unmended tear at the lower left.

14. HEAD STUDY OF A GIRL
Conte 11 15/16 x 8 15/16 (.009)     
Stamped on lower right with Castañeda’s monogram.
Head study of a girl in three quarters view on a fine grain cardboard. Raised pencil stroke from the verso picked up the graphite on the lower right.
Verso: Sketch of a man seen from top back, and an arc from the Santacruzan in lead, and with notation by the artist – “white paper covering.”

15.  MEDITATING WOMAN
Conte 14 1/8 x 9 1/8 (.009) Lot 12
Stamped lower right.
Seated woman in baro’t saya rendered in black and sepia tone graphite on drawing paper with “Toch” watermark. Slightly frayed on top and bottom edges and unrepaired tear on lower left but otherwise in good condition.

16. SEATED NUDE
Conte 12 x 9 1/8 Lot 12                  
Stamped lower right.
Front view of a female nude in two tone conte: Sepia and black on a fine grain drawing paper with lateral and vertical creases, on the center and a diagonal one on the right side. Heavily frayed edges with an unmended hole on the lower right.

17. KNEELING MAN (bound)
Lead 10 29/32 x 8 3/16 (.004) Lot 8
Stamped lower right.
Compositional study of a painting in oil presently in collection of the national museum. It is on the light drawing paper, frayed at the right edge and tear on upper center. Oil spots on the lower right corner and upper left part.

18. SELF PORTRAIT
Watercolor 12 1/16 x 9 25/32 (.009)
Stamped and dated lower right: 20 23
Tock marks on edge and extensive foxing watermark… Man (Whatman?) 1922 England

19. TOLENTINO (Head Study)
Charcoal 9 11/16 x 8 1/8 (.007) Lot
Stamped lower right.
A profile portrait of the sculptor Guillermo Tolentino on heavy drawing paper with slightly frayed edge: top and right side. A diagonal tear on the upper right hand corner. Pencil borders.

20. STANDING NUDE
Conte 9-11/16 x 8-1/8 (.008)             
Stamped lower right.
A study of a nude two-tone conte: black and sepia, in a back view. Unmended tear on the upper edge. Watermark: Le Page & Cie Paris SPF.



21. AMORSOLO
Conte 8 x 10-1/2 (.011)                            
Stamped lower right.
Seated profile portrait of the painter Fernando Amorsolo on a heavy fine grain drawing paper. Slightly frayed at the bottom, with spot scratches on the right shoulder of the figure and on the lower left.

GENRE

22. SEATED WOMAN DRINKING – A
Lead 8 x 4-13  1 (.006) Lot 7               
Stamped on the lower right.
This unfinished study of a drinking woman seating is one of the two studies he did on the subject. This one shows a sketch of a man standing with scythe. It is on a heavy fine grain drawing paper in perfect conditions.

23. SEATED WOMAN DRINKING – B
Lead 8 x 4-13/16 (.006) Lot 7            
Stamped on the lower right
A more finished study of the same woman as in No. 22. This one is with a salakot on the foreground. Like the other study, this is also enclosed by a pencil border and trimmed. Paper is in good condition.

24. TWO WOMEN
Lead 9-5/16 x 6-1/16 (.006) Lot 7       
Stamped on the lower right.
Apparently the same series of studies on common people. This one shown faint traces of scaling which indicates that the left figure might have been enlarged. It is on a heavy fine grain drawing paper in a near perfect condition.

25. PLANTING RICE
Lead 7-3/16 x 9-3/4 (.008) Lot 7        
 Stamped on the lower right.
A fine composition study in this genre on a heavy fine grain drawing paper in a perfect condition.

26. LAVANDERA WITH SALAKOT
Lead 8 x 9-15/16 (.009) Lot 7             
Stamped on the lower right.
Slightly foxing at the right edge, otherwise in perfect condition.

27. HISTORICAL STUDY – A
Lead 8-1/4 x 10-3/4 (.004) Lot 8           
Stamped on the lower right.
Pencil study of a historical subject probably the building of Intramuros. On a light weight bond 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.
A rendering on the same subject as in No. 27 in colored pencil. It is the same light weight bond paper on a perfect condition – except for rust stains near the edge.

29. WOMAN WITH UMBRELLA
Watercolor 11-15/16 x 8-7/8            
Stamped lower right.
A near profile study of a woman with umbrella on a heavy fine grain drawing paper on a near perfect condition.

30. THE RAFT
Lead 5-15/16 x 8-7/8 (.004) Lot 8
Signed and dated lower right: D. Castañeda ‘43
A dramatized view of a raft in the foreground and children bathing in the background. Rendered on a light weight drawing paper with a vertical crease on the left and frayed edges also on the left.

31. CHILDREN PLAYING “SIKLAT”
Lead 5-3/16 x 10-7/16 (.009) Lot 6
Stamped on the lower right.
Slightly foxed otherwise in perfect condition



32. SEATED VENDOR
Lead 8-5/16 x 9-1/2 (.012) Lot 7    
Stamped on the lower right.
Drawn in a heavy fine grain paper in perfect condition except for frayed edges on top.

33. SEATED MAN
Pen and ink 8-1/2 x 5-1/2 (.003) Lot 6
Signed and dated lower right: D Castañeda ‘39
Fine pen and ink rendering in sepia in a light weight bond paper in a very good condition.

34. SEATED OLD WOMAN
Pen and ink 8-3/16 x 5-1/2 (.003) Lot 6
Stamped on lower right.
A very spontaneous sketch of an old woman in baro’t saya – in blue-black ink on a light weight bond paper. In very good condition.

35. SEATED LADY
Pen and ink 8-3/16 x 5-9/16 (.003) Lot 6
Stamped on the lower right.
Rendered in blue black ink on a fine grain light weight paper in good condition except for a tear on a lower right edge.

36. KNEELING OLD WOMAN
Pen and ink 8-3/16 x 5-9/16 (.003) Lot 6
Signed at lower right: D Castañeda
Old woman in baro’t saya  rendered in blue black ink on a bond paper with a tear on the upper corner and an angled lateral crease on the lower part.

37. STANDING WOMAN WITH UMBRELLA
Lead 10-5/8 x 6-7/16 (.007) Lot 6    
Stamped lower right.
Fine rendering on an old woman in baro’t saya seen frontally on drawing paper in good condition.

38. TWO WOMEN WITH ALMIRES & BAKOL
Graphite 8 - 5/11 x 10 - 1/2 (.006) Lot 4
Stamped lower right.
Two studies of women in baro’t saya, one seated with almires and the other standing with bakol, on drawing paper. Frayed on the top edge. Watermark: Hammermill Ledger.

39. OLD MAN WITH A PIPE
Lead 9-1/8 x 12 (.007) Lot 4             
Stamped lower right.
A portrait of Deogracias Castañeda I, father of the artist. Drawing paper has four creases: two on the top and two vertical ones on the right side. Silverfish embedded on the paper.

40. & 41. SANTACRUZAN
Colored pencil 8-5/16 x 10-3/4 (.004) Lot 7
Stamped lower right.
Two compositional studies of the Santacruzan on light weight drawing paper 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 oil. It is on a heavy watercolor paper, slightly frayed on the edge but otherwise in good condition.

43. & 44. PROCESSION
Lead Lot 8                                                        
Study A: 7-3/16 x 10-7/16 (.008)                   
Signed and dated: D. Castañeda ’32       
Study B:  8-1/4 x 10-11/16 (.004)         
Signed and dated lower right: D Castañeda 1947.
Two compositional studies of a procession. The 1932 version in a long frieze like pattern and the 1947 version along a circular movement. Both in fine condition.

45. RIVER FESTIVAL
Lead 8-1/6 x 10-1/2 (.007) Lot 7               
Stamped lower right.
Compositional study of the same theme done in colored pencil and oil. On heavy drawing paper with yellowish tint due to aging. Still in good condition.



46. RIVER FESTIVAL
Colored pencil 8-3/8 x 10-13/16 (.004) Lot 7
Stamped lower right.
Another version of his many studies of the subject, on a lightweight drawing paper in excellent condition.

47. RIVER FESTIVAL
Watercolor 12 x 17-15/16                              
Signed lower right: D Castañeda
Watercolor version of the compositional study in lead and oil. On wave watercolor paper with heavily frayed left edge.

48. MAN ON A MULE
Lead 6-5/8 x 9-1/4 (.004) Lot 7                
Stamped lower right.
On bond paper, drawn with heavy lead accents. With a sign of correction below the mules mouth.

49. THE SISTERS
Watercolor 12 x 16 (.010)                       
Stamped lower right.
Interior view of a farmhouse with two girls seated on a papag by the window. On laid watercolor paper in perfect condition. Done around 1952.

50. BARRIO CHILDREN
Watercolor 12 x 17-15/16 (.014)
An overview of barrio children playing in front of a sari-sari store, with a huge tree on the foreground. This scene was sketched in front of La 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.
A view of a kitchen from granduncle’s farmhouse around 1952. On a laid watercolor paper except for a tear on the upper edge.

52. BATALAN
Conte 11-1/16 x 9 (.009) Lot 7                 
Stamped lower right.
Compositional study in two-tone conte, sepia and black; on heavy course grain drawing paper in good condition except for an unnoticeable diagonal crease from the top center of the lower right edge.

53. LOADING PALAY
Colored pencil 8-1/2 x 11 (.009) Lot 7
Stamped lower right.
Sketch on heavy drawing paper in perfect condition. Part of a series of three sketches on harvest time.

54. WINNOWING
Colored pencil 8-1/16 x 10-5/8 (.009) Lot 7
Stamped lower right.
On heavy drawing paper as in study 18, with spot on the upper right – but otherwise in perfect condition.

55. OVERVIEW OF WINNOWING SCENE
Colored pencil 8-3/16 x 11-1/16 (.009) Lot 7
Stamped lower right.
Another sketch from the series of three on harvest time, on the same paper with slight foxing. Verso: Small sketch of a man in violet pencil.

56. WINNOWING
Conte 11-5/16 x 14-1/4 (.012)                   
Stamped lower right.
A graphite rendering of the artist farm in Sitio Tambo, during Japanese time with two figures winnowing palay. It is on heavy 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 Hall around 1945 on a light drawing paper heavily frayed.



58. RUINS FORT SANTIAGO GATE
Lead 8-7/16 x 11-3/4 (.011)                  
Signed & dated lower right: D Castañeda June 1945
Ruined view of the gate of Fort Santiago on heavy drawing paper in good condition.

59. RUINS OF OLD U.P.
Pen & Ink 8-1/6 x 11-1/16 (.005) Lot 13
Stamped lower right.
Study in pen and ink of the old University of the Philippines’ ruins, on light drawing paper with oxidation. Red stain on middle left side. Slightly frayed edges.

60. JONES BRIDGE
Lead 8-7/16 x 11 (.007) Lot 10                              
Signed & dated lower left: D. CASTAÑEDA April 1945
A frontal view of Jones Bridge from Plaza Miranda on heavy drawing paper with transparent oil stains but otherwise in good condition.

61. SAN JUAN DE LETRAN
Lead 8-9/16 x 10-3/4 (.005) Lot 13               
Signed and dated lower left: D. CASTAÑEDA May 1945
Perspective view of the ruins of San Juan de Letran in excellent condition.

62. MANILA CATHEDRAL INTERIOR
Lead 8-7/16 x 11 (.007) Lot 13                         
Signed & dated lower left: D. CASTAÑEDA MANILA CATHEDRAL April 14, 1945
An interior view of the ruins of the Manila Cathedral on heavy drawing in very good condition.

63. INTRAMUROS RUINS
Lead 8-1/2 x 11-3/16 (.004) Lot 13               
Signed and dated lower left: D. CASTAÑEDA FEB 6, ‘45
Part of a series of the ruins of Manila on light weight drawing paper with slightly frayed edges on the top but otherwise in good condition.

64. FRANCISCAN CHURCH
Lead 8-7/16 x 11 (.007) Lot 13                        
Signed & dated lower left: D. CASTAÑEDA FEB 10, 1945
Facade of the ruined Franciscan Church. On fine grain drawing paper in good condition.

65. LEGISLATIVE BUILDING
Watercolor 11-3/8 x 14-3/16 (.011)              
Signed & dated lower right: D. Castañeda ‘40
Watercolor over painting in graphite of Legislative Bldg. Before the war. Due to the over painting technique, the tee on foreground assumes a Gaginesque quality. It is on heavy drawing paper in very good condition. Verso; A colored pencil sketched on 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 B – Lead 8-6/16 x 11-1/8 (.004) Lot 13
Signed & dated lower right: D. CASTAÑEDA JUNE 1945                                                  
Study C – Colored Pencil 11-3/8 x 14-3/16 (.011)                          
Stamped lower right.  
Three views of the ruins of the Legislative Bldg. right after the Second World War. In fairly good condition.

67. LEGISLATIVE BUILDING
Colored Pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
A view of the building with Intramuros wall left foreground. In excellent condition.



68. CITYSCAPE
Watercolor 8-15/16 x 11-15/16 (.011) Lot10
Signed and dated lower right: D. CASTAÑEDA PHILIPPINES ‘45
Landscape shows the City Hall and Fronton with a huge tree on the left foreground. An oil painting about 4-1/2 x 5 was made from this study and purchased by Don A. Araneta. It is on watercolor paper mounted on a board. In good condition.

69. MANILA POST OFFICE
Colored pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
Part of a suite of drawings of colored pencil of Manila scenes he did before and immediately after World War II. This drawing shows the ruins of the Post Office – 1945. In a very good condition.

70. PUERTA REAL
Colored pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
From the same suite of drawings apparently done before war, and in very good condition.

71. PARIAN GATE
Colored pencil 11-5/16 x 14-5/16 (.011)
Stamped on the lower right.
Front view of the Parian Gate with a squatter shack in front. On heavy drawing paper similar to the previous drawing. Surface shows a number of flaking but does not drastically affect the work.



72. PUERTA ISABEL II
Colored pencil 11-1 1 x 14-1/2 (.011)
Stamped lower right.
A fined colored pencil rendering of Puerta Isabel II, Intramuros, from the same suite of drawing. 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 ruins of the Recollectos Church are part of a suite of colored pencil pieces of Manila, before and after World War II. The exterior view has an oil version (ca. 3’ x 4’) in the Araneta collection. Both drawings are in excellent condition.

75. FORT SANTIAGO
Colored Pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
From the same suite of drawing in excellent condition.

76. ALONG THE PASIG
Colored pencil 11-5/16 x 14-3/8 (.011)
Stamped lower right.
Prewar view of Pasig River with barges passing by Escolta, Manila. From the same suite of drawings in very good condition.

77. FORT SANTIAGO
Colored pencil 11-5/16 x 14-3/8 (.010)
Stamped lower right.
A view of Fort Santiago before the war, showing the military headquarters. In very good condition.

78. QUIAPO CHURCH
Colored pencil 11-1/16 x 14-5/16 (.016)
Stamped lower right.
Part of the suite of drawing about Manila. There was a same version of the same scene in the oil which was lost in a travelling exhibition arranged by Modesto Farolan.

79. & 80. BINONDO CHURCH
a) View from the inside – 11-1/16 x 14-3/8 (.016)                  
b) posterior angle – 11 x 14-1/2          
Stamped lower right.
Two views of Binondo from the same suite of drawings around 1945. Both on perfect condition.

81. SAN FRANCISCO CHURCH
Lead 8-7/16 x 11 (.007) Lot 13                   
Titled and dated lower left: SAN FRANCISCO CHURCH MANILA APRIL 14, 1945
Ruined façade of San Francisco Church on heavy drawing paper in good condition except for some oxidation.



82. RECOLLECT CHURCH
Lead 8-1/2 x 11-1/16 (.004) Lot 13                
Stamped lower right.
Apparently part of the series of cityscapes done to record the ruins of Manila around 1945, in very good condition.

83. UNKNOWN CHURCH
Study A – Lead 14-1/16 x 11 (.011) Lot 10
Signed and dated lower right: D CASTAÑEDAS 1945                                      
Study B – Lead 11-1/16 x 14-1/8 (.004) Lot 13                                                                          
Signed and dated lower right: D. CASTAÑEDAS JUNE 1945
Two studies of an unidentified church One is in the vertical format with a compositional sketch of the same subject on the lower left. The other study is in a horizontal format.

84. PACO CEMETERY
Conte 11-5/16 x 14-1/4 (.013)
Initialed, stamped and dated lower right: DC 1949
Front view of Paco Cemetery Gate on heavy fine grain drawing paper, with unmended tear running vertically across the center and holes in a number of places. Verso; Pen and Ink sketch of a seated man.

STILL LIFE STUDIES

85. ORCHID
Watercolor 8-14/16 x 11-13/16 (.009) Lot 13                                                    
Stamped lower right.
Still Life study of orchid on a pot from a sketch pad, in very good condition.

86. WATER JAR
Watercolor 2 x 17-15/16 (0.014)
Signed & dated lower right: D. CASTAÑEDA 1955
A still life of a water jar and flower pots on heavy water color paper. Frayed edges at the left and right side and a vertical crease on the right side running from top to bottom.



87. STILL LIFE
Watercolor 12 x 17-15/16 (.014)
Signed &dated lower right: D. CASTAÑEDA 1955.
A still life with kasuy and other fruits on heavy watercolor paper. With frayed left and right edge s and a vertical crease on the right edge running from top to bottom.

88. PAGSANJAN FALLS
Lead 8 1/2 x 7 1/8 (.004) Lot 6
Stamped lower right

89. PAGSANJAN FALLS
Lead 8-1/2 x 7-1/8 (.004) Lot 6                   
Stamped lower right.
A view of Pagsanjan falls at right angle from the ledge. Drawn on a light weight paper in good condition except for a crease near the center.

90. LANDSCAPE
Lead 6 x 8-15/16 (.005) Lot 6                   
Stamped lower right.
Landscape of a nipa hut by a stream on a light weight drawing paper frayed on the left edge with a diagonal crease.                
Verso: Sketch of soldier with cannon.

91- 93. CLOUD STUDY
Conte 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 a heavy drawing paper. In very good condition.

94. LANDSCAPE WITH FISHPOND
Watercolor 10-7/16 x 15-3/16 (.018)
Stamped lower right
Landscape of Sitio Balong-Munti. – Done around 1967 in very good condition. Verso: A watercolor by Porfirio Castañeda.

95. NIPA HUT BY THE STREAM
Charcoal 11-5/16 x 14-5/16 (.014)           
Stamped lower right.
A very carefully rendered light and dark statement of a typical nipa hut. Drawn on a heavy fine grain drawing paper in good condition except for very slight foxing on the upper right edge.

96. KAKAWATE
Colored Pencil 8-1/4 x 10-13/16 (.004) Lot 7
Stamped lower right.
A landscape on light weight drawing paper with double border blue and black. In excellent condition.

97. & 98. PARAÑAQUE STREET
Lead Lot 6                                                             
Study A: 8-1/16 x 10-11/16 (.005)                  
Study B: 7-13/16 x 10-3/16 (.003)
Two perspective view of street in Parañaque obviously concerned with the light and dark patterns created by the sunset. Sketch A shows a figure in the street and Sketch B is enclosed by the border. Both in good condition.

99. LANDSCAPE IN CARITON
Charcoal 11-5/16 x 14-5/16 (.014)                   
Stamped lower right.
Landscape with carabao drawn cariton on Sukat road in Parañaque, Rizal done around 1948. Drawn on a heavy fine grain drawing paper with oil stain on the lower right 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 lower right.
Recto: A view of a dried up fishpond in Sitio Balong-Munti, done around January 1967. On stratmore watercolor paper. Watermark: Alexis Stratmore. In very good condition.                                                      
Verso: Landscape by Porfirio Castañeda

101.  PARAÑAQUE RIVER
Watercolor 11-3/16 x 14-14/16 (.018)
Stamped lower right.
A very good view of the Parañaque River with a distant view of houses for storing salt. (camarin). Verso: A close-up view of the salt storage along Parañaque River.

102. BAMBOOS
Watercolor 12 x 16 (.011)                               
Signed and dated lower right: D. Castañeda 1952
Bamboo grooves near a dried up creek in Sitio Balong-Munti, Parañaque, Rizal. Slightly frayed on lower right edge otherwise in good condition.

103. LANDSCAPE
Watercolor 14 x 17-5/8 (.014)                    
Stamped lower right.
A view towards Montalban from Balara. Painted in 1949. Heavily frayed on top and bottom edges.

104. BACKYARD GARDEN
Watercolor 12 x 16 (.010)                             
Stamped lower right.
Kasama’s backyard from Sitio Wawa, Parañaquye, Rizal which is now Moonwalk Subdivision. Paper in good condition except for slight flaking at the lower right.

105. LANDSCAPE WITH NIPA HUT
Watercolor 12 x 18 (.017)                      
Stamped lower right.
The scene overlooks the path leading to Sitio Wawa and was taken from Balong-Munti, Parañaque. In good condition except for slight fray on the right edge.



106. JUNGLE
Watercolor 16 x 20 (.012)                               
Signed and dated lower right: D. Castañeda 1955.
A dead Duhat tree in Sitio Balong-Munti, Parañaque and surrounding jungle. In perfect condition except for a very faint diagonal crease on the lower left.

107. FARMYARD WITH SWING
Watercolor 12 x 16 (.010) Signed and dated lower right: D. Castañeda 1956
The site of this farm yard is Sitio Wawa, Parañaque. The work showed unfinished areas e.g. carabao, child on the branch of a tree, at the left side. There are also calligraphic hairline scratches on the lower right.

108. LANDSCAPE WITH SUNSET
Watercolor 9-11/16 x 12 (.011)                   
Stamped lower right.
An unusually subdued landscape of sunset, possibly after rain. On laid watercolor paper in good condition except for a frayed edge on the lower right. Verso: A pencil sketched of a gothic church.

109. LANDSCAPE OF STREAM
Watercolor 12-13/16 x 14-11/16 (.012)
Stamped lower right.
A creek on Sitio Wawa, Parañaque on a heavy watercolor paper in fine condition except a very slight scratch on the lower left edge.

110. THE LONELY HOUSE
Watercolor 12 x 16 (.011)                              
Signed and dated lower right: D. Castañeda 1956
A site from Sitio Balong-Munti, Parañaque on laid watercolor paper, with irregular edge on top right. In good Condition.

111. BY THE BROOK
Watercolor 12 x 16 (.011)                             
Signed and dated lower right: D. CASTAÑEDA ‘53
Seated nude by the brook leaning on a tree. Drawn on a laid watercolor paper wiht uneven top edge and unmended tear on the lower right.



112. NARRA BY THE CREEK
Crayon 7-7/32 x 11-1/4 (.011) Lot 6
Stamped lower right.
Recto: An old narra tree by the creek from a slight sight now occupied by the Manila International Airport done around 1953-54. Verso: A sketch of the same subject also in crayon.

113. RIVERSIDE
Watercolor 11-1/6 x 15 (.018)
Stamped lower right.
Landscape with root formation along riverside and a distant view of Barrio Sputnik. Sketched on the 1st Saturday of typhoon Dading. In very good condition.
Verso: Landscape of fishpond with flowering plants on the foreground.

114. RIVERBANK
Watercolor  11 x 15 (.016) Lot 15              
Stamped lower right.
Landscape with mangrooves on Alexis Stratmore watercolor paper in perfect condition. Done between February and May 1967.
Verso: Salt beds of Parañaque by Porfirio Castañeda.



115. MANGROVE
Watercolor 12 x 17-12/16 (.010)               
Stamped on  lower right.
Watercolor: mangrove from a sketchbook, done between january and May of 1965. Site is a swamp in Parañaque called Patay na Ilog. In excellent condition. Handmark on upper right and lower left corner.

116. MANGROVE LANDSCAPE
Watercolor 12 17-13/16 (.011)                      
Stamped lower right.
On laid watercolor paper from a sketch pad. The mangrove dominates the landscape with the water shing in the background. In very good condition.
Verso: Landscape sketch on pad in lead, with an airplane passing as a point of interest.

117. STANDING OLD WOMAN
Graphite 9-1/16 x 5-13/16 (.006) Lot 6
Signed and dated lower right: D CASTAÑEDA ‘41
Highly modelled near profile sketch of an old woman in Baro’t saya. On hammerhill Ledger in excellent condition.



118. SEATED GIRL WITH SCISSORS
Lead 9-1/4 x 6-11/16 (.004) Lot 6             
Stamped lower right

NOTE: This catalogue was printed in cooperation with the President's Council on the Arts/The College of Fine Arts/University of the Philippines and the Solidardad Galleries on June 11, 1971.