Portrait of Madame Rose Delaunay signed, dated 1907 and inscribed “A Mr et Mad Delaunay - souvenir de FR. Hidalgo”, (lower left) oil on canvas 25 1/2 ” x 18 ”( 65 cm x 46 cm) PROVENANCE Drouot, Modern Art, Paris, 27 October 2023, Lot 64 WRITE UP The woman in this 1907 portrait by Félix Resurrección Hidalgo is the French operatic soprano Rose Delaunay, born Félice Rose Bünzli (January 28, 1857 – December 31, 1939). Rose was the daughter of Auguste Bünzli, a Swiss-born violinist from whom she also had her first voice lessons. She would go on to formally learn music at the Paris Conservatory (Conservatoire de Paris) and piano under the tutelage of French pianist and composer Félix Le Couppey. Rose won her first award at the conservatory, even though she had only been ten months into her studies. Rose Bünzli would eventually marry the French actor Louis Delaunay, son of Louis-Arsène Delaunay, who was also an actor. Now married, Rose Delaunay would have a prolific and stable career in musical theater, gracing the opera stage for the first time in 1882 with the role of Isabella in the celebrated French composer Ferdinand Hérold’s Le pré aux clercs under the company Opéra-Comique. From 1883 to 1886, Rose starred in the following operas: as “Anna” in La dame blanche, “Javotte” in Le roi l’a dit, and “Jeannette” in Les noces de Jeannette. During the 1884 - 1885 opera season, Rose played the role of Micaëla in the landmark 200th presentation of Carmen, the widely popular four-act opera by the titan of French musical theater, Georges Bizet. Rose Delaunay’s name was included in the French chemist and coca wine inventor Angelo Mariani’s Figures Contemporaines, an illustrated biography of the world’s most famous personalities and published between 1894 and 1925. In Volume 1 of the book originally written in French and published in 1894, Rose was described by the French journalist and critic Joseph Uzanne as “a delicate, lively Saxon figurine...at once coquettish and serious, mischievous, and naïve, with eyes that you never know whether they will mock or soften.” The book follows with a succinct description of her artistic prowess. [She is] an outstanding actress [and] at the same time, an infinitely skilled and gifted singer; her vocals are light, sure, and brilliant.” Rose would continue performing in operas after leaving the Opéra-Comique company in 1886, performing at the Grand Théâtre de Bordeaux and at the Opéra de Monte-Carlo. Over the following years, Rose would never leave the opera stage, appearing and performing in the principal provincial theaters of France. In September 1892, Rose played the role of Serpolette in Robert Planquette’s Les Cloches de Corneville, held at the Théâtre de la Gaîté. She would teach singing at the International Academy of Music (Institut Rudy), located at the Rue de Caumartin in Paris. In 1898, Rose was awarded the Ordre des Palmes académiques by the French government for her outstanding contribution and service to music education Rose Delaunay died on December 31, 1939 in the commune of Saint-Raphaël in the Var department of Southeastern France, where she and her husband had resided since 1922. Félix Resurrección Hidalgo and His Love for Opera Music Beyond the captivating enigma of his works that match his genteel yet mysterious disposition, Félix Resurrección Hidalgo was just like any other man (ilustrado) of his times; he liked the finest and most soothing things in life and even loved music, particularly opera music. In his book Félix Resurrección Hidalgo and the Generation of 1872, painter-critic Alfredo Roces describes the Paris of Hidalgo’s time, specifically when he arrived there in 1884 after his triumphant silver medal win at that year’s Exposición Nacional de Bellas Artes in Madrid for his painting Las Vírgenes Christianas Expuestas al Populacho. “Long wide boulevards and formally arranged gardens give the city style and sparkle,” Roces writes. “In the city’s 24,000 cafes, Parisians joke and laugh, flirt and argue about politics and art. Residents enjoy opera, theater, ballet, concerts, circuses, and horse racing. Imposing sculptural monuments highlight the city’s many grand boulevards.” In the exuberance of Paris, Hidalgo found a soothing avenue for manifesting his tranquil and modest temperament. For instance, Hidalgo found solace in painting in the sprawling and lush urban retreat of the Bois de Boulogne. It was “where he spen[t] much time capturing wooded scenes including one large painting of two ladies on a boat in a pond graced by swans and waterlilies,” Roces notes. Going above and beyond the confines of the Bois de Boulogne, Hidalgo loved the comfort that music universally bestows. Roces writes of an instance when Hidalgo sold one of his paintings just to eagerly rent a frock after being invited by a friend named George Sand to attend an opera. The overarching testament to Hidalgo’s love for music was his and his sister Rosario’s shared bond over the enrapturing beauty of melodies and harmonies. Rosario was Hidalgo’s “best friend” among his siblings, much like Jose Rizal was to her sister, Maria. Hidalgo would send Rosario letters detailing his personal experiences and innermost thoughts. Roces writes, “His main bond with his sister being their mutual love for music, Felix sends her a “hi-tech” gramophone along with some phonograph records.” Many of the records Hidalgo sent to her sister were opera ones, including Enrico Caruso’s La Tosca, Gioconda, and Mephistopheles; Fernando de Lucia’s La donna e mobile; and Sig. Francisco’s La Paloma. In one letter, Hidalgo tells Rosario that “all these records are sung in an irreproachable manner with a truly exceptional style and expression.” Hidalgo even gushes over a Polish singer named Sirota, whom he praised as having “the most beautiful tenor voice that is known.” From these sources, one can see how passionate Hidalgo was as an opera music fan. In this light, one can have a greater appreciation for Hidalgo’s portrait of Rose Delaunay. There are no archival sources that detail how Hidalgo and Delaunay crossed paths. However, one can deduce that Hidalgo may have attended one of Delaunay’s performances during her prime, particularly the wildly successful and classic opera, Carmen. When Hidalgo arrived in France in 1884 and settled at Atelier 12, 43 Boulevard Arago on the outskirts of Paris, Delaunay had been performing under the Opéra-Comique company, whose headquarters is located at the Salle Favart at Place Boïeldieu, which is only less than an hour away from Hidalgo’s address. Hidalgo’s portrait of Delaunay, made when she was 50 years old, even has a handwritten inscription that translates to “To Mr. and Mrs. Delaunay, Souvenir from FR Hidalgo.” In 1907, when Hidalgo painted this portrait, Delaunay was listed in that year’s directory of artists and drama and music educators under the section “Professeurs de Chant et Artistes Lyriques.” The directory puts her address at 44 Avenue de Wagram, less than 40 minutes away from Hidalgo’s studio, now located at 65 Boulevard Arago, Luna’s former studio. Hidalgo’s portrait of Delaunay, made when she was 50 years old, even has a handwritten inscription that translates to “To Mr. and Mrs. Delaunay, Souvenir from FR Hidalgo.” Hidalgo may have been left in awe with Delaunay’s ringing soprano that he immortalized her on canvas. Delaunay may also have even shared musical sentiments with Hidalgo. It is a reminder not only of Delaunay’s vocal prowess that accompanied her in the prime of youth but also of Hidalgo’s genuine love for music—a fondness best manifested in his lyrical and melodiously rich masterpieces that intimately sang of his warmth and nobleness. (Adrian Maranan)
Felix Resurreccion Hidalgo, Philippine, 1855 to 1913, oil on board portrait painting. The painting depicts a portrait of a woman wearing a black dress with a white lace collar. Felix Resurreccion Hidalgo acknowledged as one of the greatest Philippine painters of the late 19th century, and is significant in Philippine history for having been an acquaintance and inspiration for members of the Philippine reform movement. Hidalgo received a gold medal for his overall participation at the Universal Exposition in St. Louis, Missouri in 1904. His El violinista was individually accorded a gold medal. In 1912. One of a kind artwork.
Felix Resurreccion Hidalgo, Filipino, 1855 to 1913, oil painting on wood board depicting a seascape scene with a ship. Signed lower right. Framed. Felix Hidalgo is known for Impressionist portrait, landscape and religious subject painting. Felix Resurreccion Hidalgo y Padilla was a Filipino artist. He is acknowledged as one of the great Filipino painters of the late 19th century, and is significant in Philippine history for having been an acquaintance and inspiration for members of the Philippine reform movement which included Jose Rizal, Marcelo del Pilar, Mariano Ponce and Graciano Lopez Jaena, although he neither involved himself directly in that movement, nor later associated himself with the First Philippine Republic under Emilio Aguinaldo. Antique South Asian Fine Art, Marine Oil Paintings, Wall Art, and Collectibles.
Félix Resurrección Hidalgo (Manila, The Philippines, 1855 - Barcelona, 1913) "Jolo Island" Pencil and chalk drawing on paper. Signed in pencil and dated 1878. 21,5 x 28,5 cm. There is a small tear in the lower margin. Félix Resurrección Hidalgo was a prominent Spanish-Filipino painter of the 19th century. Born in Manila into a wealthy family, he trained at the University of Santo Tomás and the Academy of Drawing and Painting in Manila. Initially he painted landscapes and genre scenes. In 1880, he received a scholarship to study in Madrid, where he presented his most important artwork, ‘’Young Christian Women Exposed to the Populace‘’, which received a Medal for Second place at the National Exhibition in Madrid in 1884. He then settled in Paris, where he created his most famous painting, ‘The Boat of Acheron’, inspired by Dante's Divine Comedy. This work won him a Gold Medal at the General Exhibition of the Philippines in 1887. Hidalgo was also successful in other international exhibitions. As market opportunities grew, his style shifted towards decorative symbolist landscapes, although he continued to produce allegorical-political compositions with an emphasis on the historical identity of the Philippines. His artistic legacy helped to reinforce the cultural identity of the Philippines prior to its independence. In conclusion, Felix Hidalgo was one of the great masters of Philippine painting and left an important legacy in the history of Philippine art. Colonial Spanish Americas.
FELIX RESURRECTION HIDALGO Y PADILLA (Philippines, 1855 – Spain, 1913). "Portrait of a Lady", circa 1879. Oil on canvas glued to tablex. It presents several repaints, especially in the hair area. Signed in the lower left corner. Measures: 55 x 46 cm. In this delicate work made in an oval format, the author collects the bust of a young woman, placed in profile with respect to the spectator. The girl is set against a neutral gradient background that oscillates between ochre and dark tones, on which the face of the protagonist stands out, regal and defined by the pearly skin, which becomes a technical resource that brings luminosity to the scene. In this portrait the artist emphasises the sitter's personality, making a psychological study of the model. He depicts the woman with great distinction and sobriety, values that convey an austere and proud personality, aware of her privileged social position, a characteristic that is in turn defined by the clothes and the delicacy of her hair. Resurrección applied a short, precise brushstroke to the drawing and, despite the fact that it is an almost monochrome portrait, he brought luminosity to the flesh tones and the young woman's gaze. The technical characteristics of the work indicate that this piece belongs to the period in which the artist travelled to Madrid, thanks to a grant awarded to him by the Manila Government. Felix Resurreccion Hidalgo y Padilla was a Filipino artist, recognised as one of the great Filipino painters of the late 19th century, and is significant in Philippine history for having been known and inspired by members of the Philippine reformist movement that included Jose Rizal, Marcelo del Pilar, Mariano Ponce and Graciano Lopez. Jaena, though not directly involved in that movement, did not later associate himself with the First Philippine Republic under Emilio Aguinaldo. His winning of the silver medal at the Fine Arts Exposition in Madrid in 1884, along with the gold medal of Filipino painter Juan Luna, sparked a celebration that was an important milestone in the memories of members of the Philippine reform movement. He studied law at the University of Santo Tomas, although he did not finish, as he switched from law to philosophy, finishing in 1871. While studying philosophy he simultaneously enrolled in the School of Drawing and Painting. In 1876 he exhibited for the first time at the Circus Theatre in Bilibid before they were sent to the Centennial Exhibition in Philadelphia, Pennsylvania that year. In 1879 he went to Spain as a pensioner in fine arts to the Manila City Council and years later in 1884 he won the silver medal at the General Exhibition of Fine Arts in Madrid and three years later he was awarded the gold medal at the General Exhibition of the Philippine Islands held in Madrid. This recognition led to a long career of success and decorations, and he exhibited in both Paris and the United States. In fact, in 1912 he returned to the Philippines after thirty years, staying in his city for a period of six months and then returning to Paris to continue his artistic activity. However, a year later, in 1913, due to illness, he moved to Sarriá (Barcelona), where he finally died.
Seascape signed, dated 1909 and inscribed "A mi amigo, R. Ramirez" (lower left) oil on canvas 11 3/4" x 18 3/4" (30 cm x 48 cm) PROVENANCE A gift from the artist to Ramon Ramirez Private collection, Manila LITERATURE Laya, Jaime C., ed. Consuming Passions: Philippine Collectibles. Pasig City: Anvil Publishing, Inc, 2003. Full-color photograph and catalogued in the caption on page 332. The seemingly unfathomable waters and its rugged vessels feature prominently in Hidalgo’s oeuvre, consummately exemplified by one of his most iconic works, La Barca de Aqueronte, which depicts Charon, the ferryman of the Greek underworld, transporting souls over the River Styx to the realm of the god Hades. There are also his quaint river scenes of Manila and its environs that form part of his early artistic period, his Philippine Period. But perhaps nothing is more enchanting and endearing than a gift to a fellow ilustrado and comrade in the name of patriotism. Seascape, a companion piece to the preceding lot above, was painted four short years before Hidalgo’s untimely death due to failing health conditions. The work at hand is a valuable memento from Hidalgo’s final years of the early 1900s, highlighted in his career as the decade when he won the coveted Gold Medal at the 1904 Universal Exposition in St. Louis, Missouri for his work El Violinista. The said masterpiece would be reproduced in the exposition’s catalog, where it was lauded as a “strong, colorful, direct piece of painting.” While La Barca de Aqueronte shows a relatively aggressive character to Hidalgo, the artist’s myriad seascapes, particularly the work at hand, show his true disposition: gentle and mild-mannered. The sun is vaguely outlined in the background using delicate impastos, giving the composition an overall enigmatic quality. The hazy outline of sailboats, coupled with the serene waters and dream-like clouds that blanket the skies, show Hidalgo at his rawest: pure in form and intention, exuding beauty in vulnerability. Perhaps Hidalgo had foreseen his demise, and caressed by something spiritual, he was urged to paint a tranquil scenery as a farewell gift to a beloved friend. It is a reminder of the benevolent Hidalgo who always pleasantly visited his dear amigo in his Parisian home, the Hidalgo who always shared laughs, booze, stories, and even the profound sentiments of nationalism. In the ethereal peace and quiet of the painting’s atmosphere, Hidalgo’s spirit and true character are enshrined and immortalized. (Adrian Maranan)
Landscape signed, dated 1898 and inscribed "A mi amigo, R. Ramirez" (lower left) oil on canvas 14" x 18" (36 cm x 46 cm) PROVENANCE A gift from the artist to Ramon Ramirez Private collection, Manila LITERATURE Laya, Jaime C., ed. Consuming Passions: Philippine Collectibles. Pasig City: Anvil Publishing, Inc, 2003. Full-color photograph and catalogued in the caption on page 332. By his surname's mere connotation alone, Felix Resureccion Hidalgo was undoubtedly among his generation's most noble. Notwithstanding his landed status, Hidalgo always displayed an introverted and calm temperament. . Hidalgo's gentle disposition is especially evident in his landscapes and seascapes, with the eminent biographer E. Arsenio Manuel describing the artist's small paisajes as "cool and soothing." Such is the case with this dreamy landscape offered in this sale, likely depicting a tranquil vista of Brittany in northern France. When Hidalgo painted this charming work, he had been living in Paris, the bastion of the ilustrados. These Filipino expatriates enjoyed the frolics of freedom, all the while championing and lobbying for reforms in their motherland from Madre España. Hidalgo's landscapes and seascapes were a stark difference from the Neoclassical grandeur of his award-winning works, including his career-defining Las Virgenes Cristianas Expuestas al Populacho (silver medalist at the 1884 Madrid Exposition) and La Barca de Aqueronte (silver star at the 1889 Paris Exposition). They possess the immediacy and spontaneity of plein air painting, with soft colors emphasizing an ethereal realm of sensuous sensibility. Like the work at hand, Hidalgo's landscapes echo the thunderous roars of Impressionism that were resounding all over Paris in the second half of the 19th century. Hidalgo would gift this quaint landscape to his beloved amigo Ramon Ramirez—his brother in the spirit of nationalism. In 1898, Hidalgo and Ramirez bonded over a powerful cause: the international recognition of the Emilio Aguinaldo- led Philippine Revolutionary Government, which had just declared independence from Spain. Felipe Agoncillo, the first Filipino diplomat, was appointed Minister Plenipotentiary and was tasked to convince the American government that the nascent Filipino nation was more than capable of upholding their newfound sovereignty amid the impending peace treaty between Spain and the US that would lead to the selling and turnover of the Philippines to the American imperial flag. After Agoncillo's failed diplomatic mission to the White House, in which President William McKinley dismissed his appeals for Filipino participation at the Peace Commissions between the US and Spain, the Filipino diplomat sailed to Paris and stayed at the Hotel Continental. Agoncillo hoped to participate in the Peace Commissions (to be held at the hotel in October 1898) and appeal to the American Peace Commissioners to recognize the Philippines' self- determination. Agoncillo then rallied all the Filipinos in Paris, resulting in the formation of a revolutionary committee that comprised Jose Ramirez as president; Felix M. Roxas and Fernando A. Zobel as secretaries; Ramon Abarca as treasurer; and Hidalgo, Antonio Vergel de Dios, and Ramon Ramirez as councilors. Under Agoncillo's leadership, the Diplomatic Commissions in Europe gathered all Filipinos from Madrid, London, and Paris, the latter comprising Juan Luna, Hidalgo, and Ramirez. Despite the futility and fragility of the situation, they steadfastly campaigned for the just cause of Philippine sovereignty. In the end, American imperialism prevailed, dismissing Agoncillo's position paper that he proposed to the Peace Commission and banning Filipino representation in the peace talks. The Philippines' harrowing fate had already been sealed for 20 million US dollars. Ramirez's Parisian abode became the "unofficial Embassy of the Philippine Islands" in France (and perhaps all over Europe) from the twilight years of the 19th century until the dawn of the 20th century. Filipinos living in the diaspora, particularly the ilustrados, frequented the Ramirez residence, with Hidalgo being one of his regular visitors. Hidalgo gifted these two oil paintings as a symbol of brotherhood, congeniality, generosity for Ramirez's hospitality, and their shared aspirations for the cause of liberty. (Adrian Maranan)
Felix Resurreccion Hidalgo (Filipino, 1855-1913), harbor, watercolor on paper, signed L/R, 10 1/2" x 15", framed 12" x 16 1/2". Provenance: Westbury, New York collection.
Oil on canvas. Signed in the lower right corner. Preparatory sketch for a later work. The figure of Justice carries the flag of the United States of America.
Barcos de la Vela (Sailboats) signed and dated 1908 (lower right) oil on canvas 24" x 37" (61 cm x 94 cm) PROVENANCE: Collection of Mr. and Mrs. William Sproule of San Francisco, United States of America. WRITE UP: For Felix Resurreccion Hidalgo, scion of the landed Padilla family, life was a delicate balance between the demands of his mercantilist grandfather and mother and his own desire for gentler pursuits. Rizal correctly described the stark contrasts between Juan Luna and Resurreccion Hidalgo: If Luna was the sun, Hidalgo was the moon, with all the mystery and yes, even uncertainty that conveyed. He may as well have also described the vital earthiness of life in Manila versus the atmospheric days of Hidalgo’s life in Paris. Hidalgo would paint ethereal beauties in fields of flowers, women in gardens and glades but he would be best known for his portraits of the rivers and seas. (Not all were so serene as his Philippine scene La Banca: There is for instance his famous La Barca de Aqueronte, depicting the boatman of Hades.) Water, however, would best convey not only Hidalgo’s character — introverted, understated and gentle — but also the distances of escape that the ocean presented from Manila and his responsibilities. It would be a parable of the unfettered life and adventures in art. Remarkably, there are photographs of two paintings titled “Barcos de la Vela (Sailboats)” that exist in the Collection of Alfonso T. Ongpin, both painted at the same time in 1908 as the work at hand. Barcos de la Vela is a vista of boats skimming the waters, illuminated by a glorious sunrise outlined in heavy impasto. The sailboats glide on the sea towards a happy future. (Lisa Guerrero Nakpil).
Felix Resurrección Hidalgo (Binondo, Manila 1855 - Barcelona 1913) "Landscape with rice fields and peasants on the road" Oil on canvas Signed 58 x 104 cm 25.000 - 30.000 €
Felix Resurreccion Hidalgo (Filipino, 1855-1913), coastal landscape with mountains, oil on board, signed L/R, 9" x 18", framed 12 3/4" x 21 3/4". Provenance: Westbury, New York collection.
ATTRIBUTED TO FELIX RESURRECTION HIDALGO Y PADILLA Binondo, Manila 1855 - Barcelona 1913 Portrait of a mestizo girl Oil on canvas Measurements 28.8 x 23 cm Origin : - Acquired by the soldier Don Tomás Olleros y Mansilla (Bejar 1838 - Madrid 1890) on one of his trips to the Philippines between 1864 and 1869.
ATTRIBUTED TO FELIX RESURRECTION HIDALGO Y PADILLA Binondo, Manila 1855 - Barcelona 1913 Portrait of a young mestiza woman Oil on canvas Measurements 42.5 x 36.5 cm Origin: - Acquired by the soldier Don Tomás Olleros y Mansilla (Bejar 1838 - Madrid 1890) on one of his trips to the Philippines between 1864 and 1869. These two unpublished portraits can be relate to a group of paintings called "types and customs" that were popularized by foreign travelers in the second half of the 19th century. These portraits show the different ethnic groups and social classes of the Philippines. The first portrait shows a young mestiza girl dressed in the characteristic shirt or baro with wide blue-striped sleeves. The model is the same one that appears in "Educanda de beaterio" auctioned in this same room in February 2023. The following portrait presents a young mestizo girl wearing a white camisole. Both works are unfinished and quickly sketched in the areas that delimit the portraits where the artist's quick and accurate brush strokes can be seen. Félix Resurrección made both portraits from life, perhaps as notes to work on his final works.
ATTRIBUTED TO FELIX RESURRECTION HIDALGO Y PADILLA Binondo, Manila 1855 - Barcelona 1913 Filipino peasants in a boat Oil on cardboard Measurements 18 x 36.6 cm Origin: - Acquired by the soldier Don Tomás Olleros y Mansilla (Bejar 1838 - Madrid 1890) on one of his trips to the Philippines between 1864 and 1869.
ATTRIBUTED TO FELIX RESURRECTION HIDALGO Y PADILLA Binondo, Manila 1855 - Barcelona 1913 Filipino characters in a boat. H. 1876 Oil on canvas Measurements 24 x 40 cm Origin: - Acquired by the soldier Don Tomás Olleros y Mansilla (Bejar 1838 - Madrid 1890) in one from his trips to the Philippines between 1864 and 1869. This pair of river landscapes must have been acquired by Tomás Olleros and his wife María de los Milagros Vernacci during their second trip to the Philippines between January 1879 and June 1882. These small landscapes can be related to other similar works by the artist of which we know at least three others (La Banca, Eleuterio Pascual collection; San Pradillo River, United Coconut Planters Bank Collection; Brook Scene with a Fish Trap, Sonia collection Mathay). All of them show the exuberant Philippine mangrove crossed by a mighty river in which we see the humble farmers busy with their fishing tasks.
FELIX RESURRECTION HIDALGO Y PADILLA Binondo, Manila 1855 - Barcelona 1913 View of the Taál volcano. February 8, 1877 Oil on canvas Signed, dated and titled Measurements 53.3 x 71 cm Origin: - Acquired by the soldier Don Tomás Olleros and Mansilla (Bejar 1838 - Madrid 1890) on one of their trips to the Philippines between 1864 and 1869. This topographic view of the Taál volcano located on the west coast of the island of Luzon represents an interesting contribution in the pictorial production of Félix Resurrección Hidalgo. Located 50 kilometers from Manila, it is considered the second most active volcano in the Philippine archipelago. To the left of the composition you can see the enormous caldera of the volcano where there is a small lake on which the island called "Vulcan Island Point" stands out. On July 19, 1874, an eruption of gases and ash wiped out all the livestock on the volcanic island. Curiously, in November 1878 an eruptive column of ash covered the entire island.
PROPERTY FROM THE DON MAXIMO PAZ COLLECTION Untitled ca. 1890 pastel on paper 16” x 22 1/2” (41 cm x 57 cm) WRITE UPThough not a part of the Philippine reform movement, Félix Resurrección Hidalgo’s significance is not to be underestimated. Acknowledged as one of the great Filipino painters of the late 19th century, he is an acquaintance of several illustrados like José Rizal, Marcelo del Pilar, Mariano Ponce and Graciano López Jaena. Like many illustrados, Hidalgo left the country to pursue studies in Europe, receiving a bacheller en filosifia in 1871. He painted landscapes, seascapes, and portraits with a vigor and it paid off. His talents are praised by no less than José Rizal who said, “In Hidalgo's work there are revealed feelings of the purest kind; ideal expression of melancholy, beauty and weakness—victims of brute force…in Hidalgo we find all is light, color, harmony, feeling, clearness; like the Philippines on moonlit nights, with her horizons that invite to meditation and suggest infinity.” Hidalgo’s landscapes are dreamy, romantic, and soft. However, this lot at hand manages to pull off his picturesque seascapes using only pastel on paper. Here, Hidalgo masterfully manipulates shading, depth, and shadows to create a tranquil scenery of the sea proving that though he trained in the European tradition, he bravely sets off into his own path, creating art that is not European or Filipino but something that is distinctly Félix Resurrección Hidalgo. (Hannah Valiente)
PROPERTY FROM THE DON VICENTE “TIKING” H. LOPEZ, JR. COLLECTION Nude signed lower right charcoal with chalk highlights on paper 11 1/2” x 8 3/4” (29 cm x 22 cm) WRITE UPFélix Resurrección Hidalgo may be more known for his captivating landscapes and portraits but he produced many great sketches. One of the greatest Filipino painters of the 19th century, Hidalgo, like many other illustrados, left the country to pursue studies in Europe. He may not directly join the reform movement that contemporaries like Jose Rizal and Juan Luna participated in but his role in Philippine history is not to be understated. Some historians consider him as one of the driving forces of the early Philippine art scene; he even served as a source of inspiration for members of the Philippine reform movement, with Jose Rizal saying, “in Hidalgo's work there are revealed feelings of the purest kind; ideal expression of melancholy, beauty and weakness [...] we find all is light, color, harmony, feeling, clearness; like the Philippines on moonlit nights, with her horizons that invite to meditation and suggest infinity.” In this sketch, Hidalgo shows off his prowess with even the most basic of materials. Using charcoal and chalk, Hidalgo masterfully manipulates shadows and lights to create a somber mood. The woman, bare except for a shawl wrapped around her waist, is hunched over, her hands grasping the pole desperately. Armed only with charcoal and chalk, Hidalgo manages to create a masterpiece. (Hannah Valiente)
Félix Resurrección Hidalgo (1855 - 1913) Boceto, El Desaliento (Study, Hopelessness) c. 1888 charcoal on paper 9 1/4" x 14 3/4" (23 cm x 36 cm) When Felix Resurreccion Hidalgo painted the achingly beautiful El Desaliento (or Hopelessness) in 1888, he was at the peak of his artistry, and had just received successive accolades from the Madrid Expositions of 1884 and 1887. It was thus both interestingly and ironically titled; for biographer E. Arsenio Manuel would describe this period “as the most productive in the artistic career of Resurrección Hidalgo.” He explains further, “In 1884, his large canvas Las Virgenes Cristianas Expuestas al Populacho was presented for exhibition in the Exposicion General de Bellas Artes in honor of the Spanish King Alfonso XII in Madrid. Although by this time he must have realized the effect of light upon his colors, the result was still a classic piece. This was awarded a silver medal. It was in the same exhibition that the Spoliarium of Juan Luna (q.v.) was shown and awarded first prize and a gold medal. To commemorate the event, the Filipino colony in that city tendered a fraternal banquet and rousing welcome to the two honored artists at Café Ingles on June 25th. Rizal, who was one of the celebrants, was in a position to give the merits of Las Virgenes and interpret its significance.” Rizal’s words still ring true today for the same artistic feelings to be found in El Desaliento: “In the painting of Hidalgo throbs the purest of sentiment, an idealized expression of melancholy, of beauty and weakness ... and that is because Hidalgo was born under the brilliant azure of that sky, with the lullaby of the breezes of her seas, amidst the placidness of her lakes, the poetry of her valleys and the majestic harmony of her mountain ranges... Hidalgo is all light, color, harmony, feeling, limpidness like the Philippines in her calm moonlit nights, in her serene days with her horizons inviting contemplation..." In the Exposicion General de las Islas Filipinas held in Madrid in 1887, Resurrección Hidalgo presented two paintings: La Barca de Aqueronte and La Laguna Estigia. “The first canvas, which has attracted world-wide attention ever since, catches a dreadful scene of Canto III in Dante's "Infierno" where Charon is conducting the condemned to the sinister boat,” wrote Arsenio Manuel. He continued his praise with, “Charon the demon with eyes of coal; Beckoning, garners them together there; Beats with his oar each backward-hanging soul. This piece merited a gold medal. Together with a portrait of Madame Boustead, it was again shown in 1889 in the Exposition Universelle of Paris.” Arsenio Manuel notes that La Barca de Aqueronte “was shown at the behest of friends and admirers, for Resurrección Hidalgo was congenitally shy and modest.” This insight to his character reveals the fragile, gentle emotional state that would have created El Desaliento. In the finely wrought boceto (study), two details are absent from the final work : A crescent moon hangs delicately low in the sky — showing Resurreccion Hidalgo’s original intent to create a background of a brooding night sky. (In the completed oil painting, it is a cloudy, pale daylit one.) There is also the distant figure of a man, moving away. It is not clear if his head is turned towards the nymph seated on the hillside, or if he has turned away. The swift charcoal strokes add more intense emotion to the work : the enchanting woman sits with her face cupped in her hand, overcome in deep thought, despite the wooded splendor around her. Augusto “Toto” M.R. Gonzalez III has noted that “Felix Resurección Hidalgo would die unexpectedly in 1913, leaving a fortune in real estate, shares of stocks, and paintings without legitimate descendants nor recognized natural heirs; his mother Doña Maria Barbara Padilla y Flores, would inherit it all. The next year, however, she passed, leaving the Hidalgo-Padilla fortune to her heirs. The bulk of the paintings then went to the “sobrinos” of Felix, namely Don Felipe Hidalgo, son of Jose; Don Eduardo Hidalgo Paz and Doña Rosario Paz de Perez, children of his sister Pilar who was married to Don Maximo Paz. The work has been in one family’s continuous possession will finally cede for 110 years, or from 1913 to 2023.
Félix Resurrección Hidalgo (1855 - 1913) Seascape signed (lower right) ca. 1895 oil on wood 5 1/2" x 9 1/2" (14 cm x 24 cm) "THE LOPEZ LEGACY COLLECTION : A MICROCOSM OF GREAT PHILIPPINE ART 19th-Century Masterpiece by Hidalgo Moonlit Seascape by LISA GUERRERO NAKPIL Gonzalez would describe the artist’s grand family background thus, “Felix Resurreccion Hidalgo y Padilla was born in 1855 to the rich, propertied Padilla family of Binondo, Manila, originally from 1700s Lingayen, Pangasinan. For starters, he was painted as early as the age of four in 1859 [ or age of six in 1859 if born in 1853; historians have varied dates] with his maternal grandfather Narciso Padilla by the Tondo maestro Antonio Malantic. “Narciso Padilla was a rich lawyer and merchant with several businesses and many commercial real estate properties in Manila and its surrounding “arrabales” or districts. Narciso’s daughter, Barbara “Baritay” Padilla de Resurreccion Hidalgo, Felix’s mother, inherited many valuable properties from him, among them several big warehouses in the Divisoria entrepot in Tondo which lined the Pasig river. The affluent Padilla family had [and still has] a long history distinguished by high professional achievement, wealth, conservatism, and prudence. “The Padilla descendants recall that, with characteristic frugality, their forebears had transferred the “bahay na bato” ancestral house in Lingayen, Pangasinan beam by beam and brick by brick to Calle General Solano in posh San Miguel district, Manila in the late 1800s. Frugality notwithstanding, the transfer of whole houses “in toto” was not an unusual practice during the Spanish colonial era.” At the age of 25, Resurreccion Hidalgo would win a scholarship to the Royal Academy of Fine Arts of San Fernando in Madrid and would begin a stellar career. Its first peak would be the silver medal bestowed on his masterpiece “Las Virgenes Cristianas Expuestas al Populacho or (The Christian Virgins Exposed to the Populace)” at the Madrid Expo of 1884. He would create moving views of the lyrical coast of Normandy. An avid early adopter of the camera, he used photographs to capture his models as well as land and seascapes, the better to perfect his romantic depictions. THE LOPEZ LEGACY COLLECTION : A MICROCOSM OF GREAT PHILIPPINE ART 19th-Century Masterpiece by Hidalgo Moonlit Seascape by LISA GUERRERO NAKPIL ABOVE: Noche de Luna, oil on wood, 13.67 x 18.42 cm, signed, lower right, Collection: Eugenio Lopez Foundation from the book Felix Resurreccion Hidalgo & the generation of 1872 In this petite jewel at hand, the mood of the rising moon as it casts a magical light on the water can be felt almost as it quivers through the clouds. It is easy to see why it would cast a spell over a sophisticated collector such as Don Geny Lopez whose family’s collection began with many Hidalgos. The Lopez Museum to this day counts among its important holdings several major Resurreccion Hidalgos, including the prize-winning La Barca de Aqueronte. "
Felix Resurreccion Hidalgo (1855 - 1913) Untitled (Landscape) oil on canvas 5” x 8 1/2” (13 cm x 22 cm) PROPERTY FROM THE ZAFFY LEDESMA COLLECTION Hidalgo’s works are usually overshadowed by his contemporary, Juan Luna. But according to their good friend, José Rizal, in one of his letters to Ferdinand Blumentritt, “Hidalgo is a better painter of landscapes than he [Luna], especially of Philippine landscapes.” Perhaps, Rizal saw delicateness and subtlety in Hidalgo’s landscapes, which parallels his aim of prudent, deliberate, and vigilant measures that had to be taken to achieve true independence—a challenging yet beautiful vision for the fate of his homeland. In 1883, Hidalgo went on a tour around Spain, studying natural landscapes, before moving to Paris the following year. On June 25, 1884, Rizal delivered a speech at a banquet at Restaurant Ingles, Madrid, in honor of Luna’s and Hidalgo’s wins at the Exposición Nacional de Bellas Artes in May of that same year. In that exposition, Luna and Hidalgo rose to prominence, with their respective works Spoliarium and Las Virgenes Cristianas Expuestas al Populacho, obtaining the gold and silver medals, respectively. Rizal says: “So in Hidalgo we find all is light, color, harmony, feeling, clearness; like the Philippines on moonlit nights, with her horizons that invite meditation and suggest infinity.” Rizal’s previous statements resonate with the work at hand. In this piece, one sees Hidalgo’s refinement in manipulating his brushstrokes to sublimely portray a soothing, wispy landscape. In contrast with Luna’s dramatic palette, Hidalgo’s employment of soft colors results in landscapes that capture a dream-like atmosphere. (A.M.)
Félix Resurrección Hidalgo (1855 - 1913) Orilla del río Pasig, Manila signed and dated 1876 (lower right) oil on board 6 1/2" x 9 1/2" (17 cm x 24 cm) PROVENANCE: Private Collection, Spain FÉLIX RESURRECCIÓN HIDALGO POET OF THE PHILIPPINE LANDSCAPE by LISA GUERRERO NAKPIL Among the most coveted works by Félix Resurrección Hidalgo are his Philippine landscapes, created when he was at the first crest of his distinguished career, as a young prodigy at the Manila Academia. He was already destined for greatness. Resurreccion Hidalgo would know better than his family what his ultimate fate would be, as intoned by an admirer, painter and culturati Fabian de la Rosa as one of the ‘two pillars of Philippine art alongside Juan Luna.’ Remarkably, he would have a first and public presentation of his works while a student at the well-known Teatro-Circulo de Bilibid, possibly financed and arranged by his wealthy family. That exhibition would feature his legendary works La Barca (a view of an elegant india stepping into a boat) and Vendedora de Lanzanos (the fruit seller.) Several of these works would receive such acclaim that they would be sent to the Philadelphia Exposition years later in 1879. He would next try out at an important competition, vying for the honor with his own teacher to illustrate the cover of the monumental La Flora de Filipinas, the botanical brainchild of Fray Manuel Blanco. Resurreccion Hidalgo would not win that particular award but instead be selected as one of the pensionados to the Royal Academy of Fine Arts of San Fernando in Madrid. The work at hand reflects the audacious talent of Resurreccion Hidalgo, so delicate and pristine as it captures a country scene at the river’s edge. It’s astonishingly dexterous, with such fine brushwork that nevertheless details a scene of bucolic bliss. A stand of banana trees and dark foliage partly conceal a hut. In the immediate foreground is the outline of a man who has taken his horse to water; the house’s thatched roof can be glimpsed because a pair of grey and white birds sit at its very top. To the side is a lushly verdant mango tree, the kind that is unstoppable in its growth even after it has been felled by a storm that often visits these islands. Resurreccion Hidalgo has added an effect of a fine mist that brings the background cleverly out of focus, foretelling his future obsession with the newfangled art of photography in his later years in Paris. It is a tour de force by such a young man.
FÉLIX RESURRECCIÓN HIDALGO Y PADILLA Binondo, Manila, Philippines 1855 - Barcelona 1913 Portrait of D. Anselmo Olleros Mansilla. 1876 Oil on canvas Signed and dated in Manila in September 1876 Measurements 27.7 x 24.5 cm Anselmo Olleros Mansilla (Béjar ? - Madrid 1896) brother of Tomás , was a prominent engineer and military officer of the Army Staff Corps in the Philippines. Born in Béjar (Salamanca) Anselmo arrived in the Philippines on November 12, 1872 where he made the first itinerary chart of the island of Luzón, published by the War Department in 1882.
FÉLIX RESURRECCIÓN HIDALGO Y PADILLA Binondo, Manila, Philippines 1855 - Barcelona 1913 Manila landscape with Bahay kubo Manila landscape with a bridge over a tributary of the Pasig river. 1876 Oil on canvas (two) The first dated February 9, 1876 and the second signed and dated in Manila in September of the same year Measurements 34.3 x 54.2 cm 34.5 x 55 cm This unprecedented pair of landscapes, like the previous works, must have been acquired by the young Tomás Olleros during his second trip to the Philippines, which took place between January 1879 and June 1882. During this His wife María de los Milagros Vernacci accompanied him on the ranch and it is very likely that they met the young Félix Resurrección Hidalgo months before his trip to Madrid in the summer of 1879. These landscapes can be related to other similar works by the artist that we know of at least six others (A Native House, Sonia Mathay Collection; Manila river Scene, PRR collection; A Country Road, PRG collection; San Pedrillo River collection; United Coconut Planters collection and private collection, Madrid). Curiously, all these landscapes have the same dimensions and date from 1876 when Félix Resurrección unveiled his work in the exhibition of the Circo Teatro de Bilibid in honor of the monarch Alfonso XII. All of them show the exuberant Philippine island landscape composed of lush groves of bamboo, albizia and teak with the typical Bahay kubo wooden constructions. In them we see the humid peasants with the mestiza dress busy in their harvesting work. Bibliography: Alfredo Roces, Felix Resurreccion Hidalgo & the Generation of 1872, Eugenio Lopez Foundation, 1995.
FÉLIX RESURRECCIÓN HIDALGO Y PADILLA Binondo, Manila, Philippines 1855 - Barcelona 1913 Aguadora Educanda de beaterio. 1877 Oil on canvas (two) Signed and dated in Manila Measurements 54.4 x 34.8 cm 54.6 x 34.5 cm These two works The unpublished paintings that we are now making known belong to a select group of paintings of "types and customs" popularized by the artist Damían Domingo (1796 - 1834), founder of the Drawing Academy around 1827. The first testimonies were watercolors showing the different ethnic groups and social classes of the Philippines. These albums, better known as "types of the country", were enormously successful among enlightened minorities who collected them as souvenirs. At present we find interesting specimens by the hand of José Honorato Lozano or Justiniano Asunción among others. There is no doubt that the young Félix Resurrección must have known these works, which served as a source of inspiration for future commissions. Without going any further, in 1877 he drew La Costurera de Manila to illustrate one of the pages of La Ilustración de Oriente. The starting signal for his relevant career as an artist took place on February 3, 1876 when he participated in a show at the Circo Teatro de Bilibid in honor of Alfonso XII which was attended by the elites of Manila. The experience must have been a complete success for the young artist because months later he was selected to participate in the Universal Exhibition in Philadelphia with three works; The seller of Lanzones, Fisherman of Sacag and landscape (all three in the Prado Museum). Both works are part of the painter's youth just before his trip to Spain in 1879 thanks to the pension granted to him by the Manila City Council to study at the San Fernando Royal Academy of Fine Arts in Madrid. Curiously, both representations seem to be inspired by two drawings by CW Andrews that appear in La Ilustración Filipina published in 1858 and 1860 respectively. The first one, an Aguadora, shows a young mestizo woman dressed in the characteristic Baro at saya costume, made up of a wide-sleeved shirt, skirt and blue tapis. In her hands she holds a jug of water that alludes to her humble condition as a peasant. The model is the same one that appears in Pair of young Tagalogs (oil on canvas, signed and dated, 105 x 73 cm) that went up for auction in this same room in October 2018. The other painting is titled Educanda de beaterio, which corresponds to those single young women who lived in religious communities where they learned to read and write, in addition to other domestic tasks. During the holidays they could be seen walking around, dressed in the typical mestiza dress and the elegant mantilla or lambó on their heads. Over the shirt or baro, she shows the handkerchief or lampay of fine lace on which she wears a gold filigree necklace or tambourin. In his hands he carries a rosary rolled up to a small missal or prayer book. At the bottom of the composition we can see a temple that could well be one of the five beaterios that were in Manila at that time, such as the one of San Ignacio or of the Company located in Binondo where Félix Resurrección lived. Both works can also be related to other traditional paintings such as the Bank (Dr. Eleuterio Pascual collection) or the Beggars (Dr. Alejandro R. Roces collection).
PROPERTY FROM THE ROBERTO T. VILLANUEVA COLLECTION Cow signed (lower left) ca. 1890 oil on canvas 12" x 18" (30 cm x 46 cm) The Quiet Genius by LISA GUERRERO NAKPIL This charming painting of a bovine — with the exuberant feel of having been created en plein air — is a reminder of the infinite talents of Félix Resurrección Hidalgo. Hidalgo was an exacting master of his art and would stop at no opportunity to hone it further, embarking on various expeditions in Normandy and Brittany to capture horses, nomadic gypsies, as well as romantic little villages that would dot the countryside. Despite an immense Manila portfolio of land, Hidalgo chose to remain in Europe in somewhat reduced circumstances to pursue his art. He would, however, ultimately find it fulfilling. While he did not have the verve nor the same kind of acclaim received by Juan Luna, some critics say that the appellation of ‘H.C’ (or hors concourse, not in competition) that was affixed to his paintings indicate the respect the French Academy in Paris held for him. A review of Philippine 19th century art contains this note, “Hidalgo studied under Señor Agustin Saez and proved his worth later by winning second prize for a portrait called La Flor de Manila. He was sent as a government scholar to Spain and then went to Paris where he stayed after the expiration of his scholarship. His style of painting is at once both romantic and lyrical; his landscapes and seascapes impressive and bold as his figure compositions.” This work may be viewed as placid testimony of Hidalgo’s temperament and painstaking approach to art. (He was known to make several studies for each work that he would undertake.) The quietude of its subject would have almost certainly resonated with the owner Roberto T. Villanueva, investment banker and visionary art collector.
Portrait of a Young Woman with Roses, oil on canvas laid on board, 16 x 20 in (40.6 x 50.8 cm), framed 19 1/2 x 23 1/2 in (49.5 x 59.7 cm), signed lower right, Notation-Frame probably original to the painting
Felix Resurección Hidalgo (Binondo, Manila 1855 - Barcelona 1913) Double portrait "Seated young woman" and "Naked Lady" Charcoal drawings Signed in Paris and dated in 1889 34 x 28 cm 4.000 - 6.000 €
PROPERTY FROM THE ZAFFY LEDESMA COLLECTION Félix Resurrección Hidalgo (1855 - 1913) La Procesion signed (lower right) watercolor on paper 3 1/2” x 6” (9 cm x 15 cm)
PROPERTY FROM THE DON ANTONIO BANTUG COLLECTION Félix Resurrección Hidalgo (1855 - 1913) Untitled signed (lower left) oil on canvas 5 1/4” x 9 1/4” (13 cm x 23 cm)
Oil on board. Signed and dated (1876) in the lower right side. Origin: Acquired by a natural family from Iloílo circa 1930 and by direct succession to its current owners. Born in Binondo Félix Resurrección Hidalgo studied Law at the University of Santo Tomás in Manila while beginning his artistic career under the guidance of Agustín Sáez. Among his first works are landscape views of the surroundings of Manila, an example of which is the present lot. He painted works similar to the present one in the years 1875-1876, such as the "Estudio del natural (1875)" at the Museo del Prado, also signed in red paint like the present panel. In 1879 he won one of the pensions paid by the Manila Provincial Council to continue his training at the San Fernando Academy of Fine Arts in Madrid. After traveling to Rome where he met other Filipino artists such as Juan Luna or M. Zaragoza, he would settle permanently in Paris where he would stand out in historical, symbolic and landscape painting. Félix Resurrección Hidalgo was a man of great literary culture to the point that José Rizal, when publishing his famous "Noli me tangere", sent him a copy and asked for his opinion. There is evidence that one of the opinions most valued by Rizal was precisely that of the artist from Binondo. He sends you a copy and asks for your opinion. There is evidence that one of the opinions most valued by Rizal was precisely that of the artist from Binondo. He sends you a copy and asks for your opinion. There is evidence that one of the opinions most valued by Rizal was precisely that of the artist from Binondo.
Félix Resurrección Hidalgo (Manila, The Philippines,1855 - Barcelona, 1913) "The mestiza client" Oil on canvas. With a gilded stucco period frame. Signed and dated 1902. 73,5 x 49 cm. Colonial.
Félix Resurrección Hidalgo (1855 - 1913) Disenchantment (Study) signed (lower left) chalk and charcoal on paper 8 1/2” x 13” (22 cm x 33 cm) PROPERTY FROM THE PRESENTACION ‘PRESY’ LOPEZ-PSINAKIS COLLECTION
Félix Resurrección Hidalgo (1855 - 1913) Untitled signed (lower right) hand painted ivory fan a) ivory fan: 14” x 25” (36 cm x 64 cm) b) display table: 25 1/2” x 23” x 23” (65 cm x 58 cm x 58 cm)
FELIX RESURRECCIÓN HIDALGO Y PADILLA (Philippines, 1855 - Spain, 1913). "Portrait of a lady", circa 1879. Oil on canvas pasted on tablex. Signed in the lower left corner. Measurements: 55 x 46 cm. In this delicate work made in an oval format, the author collects the bust of a young woman, placed in profile with respect to the spectator. The girl is set against a neutral gradient background that oscillates between ochre and dark tones, on which the face of the protagonist stands out, regal and defined by the pearly skin, which becomes a technical resource that brings luminosity to the scene. In this portrait the artist emphasises the sitter's personality, making a psychological study of the model. He depicts the woman with great distinction and sobriety, values that convey an austere and proud personality, aware of her privileged social position, a characteristic that is in turn defined by the clothes and the delicacy of her hair. Resurrección applied a short, precise brushstroke to the drawing and, despite the fact that it is an almost monochrome portrait, he brought luminosity to the flesh tones and the young woman's gaze. The technical characteristics of the work indicate that this piece belongs to the period in which the artist travelled to Madrid, thanks to a grant awarded to him by the Manila Government. Felix Resurreccion Hidalgo y Padilla was a Filipino artist, recognised as one of the great Filipino painters of the late 19th century, and is significant in Philippine history for having been known and inspired by members of the Philippine reformist movement that included Jose Rizal, Marcelo del Pilar, Mariano Ponce and Graciano Lopez. Jaena, though not directly involved in that movement, did not later associate himself with the First Philippine Republic under Emilio Aguinaldo. His winning of the silver medal at the Fine Arts Exposition in Madrid in 1884, along with the gold medal of Filipino painter Juan Luna, sparked a celebration that was an important milestone in the memories of members of the Philippine reform movement. He studied law at the University of Santo Tomas, although he did not finish, as he switched from law to philosophy, finishing in 1871. While studying philosophy he simultaneously enrolled in the School of Drawing and Painting. In 1876 he exhibited for the first time at the Circus Theatre in Bilibid before they were sent to the Centennial Exhibition in Philadelphia, Pennsylvania that year. In 1879 he went to Spain as a pensioner in fine arts to the Manila City Council and years later in 1884 he won the silver medal at the General Exhibition of Fine Arts in Madrid and three years later he was awarded the gold medal at the General Exhibition of the Philippine Islands held in Madrid. This recognition led to a long career of success and decorations, and he exhibited in both Paris and the United States. In fact, in 1912 he returned to the Philippines after thirty years, staying in his city for a period of six months and then returning to Paris to continue his artistic activity. However, a year later, in 1913, due to illness, he moved to Sarriá (Barcelona), where he finally died.
