living, like his teacher Damian Domingo, painting delicate works on paper depicting Philippine costumes and customs for the tourist trade. Justiniano Asuncion’s costume albums were so much in demand that, according to recent scholarship by Florina Capistrano Baker, these were copied by a Chinese workshop in Canton.
Sold at auction last weekend in Leon Gallery were 16 signed Asuncion watercolors bought in Manila on Dec. 31, 1843 and repatriated a century later by the late historian Benito Legarda Jr. Documenting the collection before the sale reminded me of an album of Philippine costumes in the New York Public Library that I first saw in the 1980s. Acquired by a certain Mr. Soden of Bath in 1841, it consists of 13 plates, four of which were made “by an inferior artist the former being ill.
The trousers are made of strong silk of their own manufacture; stockings they are never troubled with; the shoes are in imitation of ours and made by the Chinese of whom there are a great many in Manilla. The hat, umbrella, and handkerchief are of European manufacture. The umbrella is to preserve his complexion from the sun: most people use them when walking in the heat of the day; to Europeans they are absolutely essential.
A mestiza costume is described thus: “The blue stripe is a little jacket made of the same material as the man’s shirt; it has not so much work upon it, the cuffs only being embroidered.
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