Fernando C. Amorsolo Sold at Auction Prices

Painter, Illustrator

Artist Fernando Amorsolo was born in Manila in 1892, and as a teenager, he began an apprenticeship with respected artist Fabian de la Rosa. Despite the artist's loss of his father and half-brother before he was 12, early Fernando Amorsolo paintings were hopeful and full of light. Amorsolo's artwork drew particular appreciation for his technique of backlighting. Though some critics dismissed the positive outlook in his paintings as naive, Amorsolo wanted to show that good still existed in the world.

Fernando Amorsolo's paintings for sale depict the rural areas and people of the Philippines. In 1939, artist Fernando Amorsolo's oil painting Afternoon Meal of the Workers was exhibited at the New York World's Fair and won first prize. The artist was also commissioned to do oil paintings of all the sitting Philippine presidents during his career. Bring personality and light to your rooms by purchasing impressive portrait paintings online.

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            • Fernando Amorsolo Y Cueto (Paco 1892-1972 Quezon City) El descanso de la siega
              Nov. 13, 2024

              Fernando Amorsolo Y Cueto (Paco 1892-1972 Quezon City) El descanso de la siega

              Est: €40,000 - €60,000

              Fernando Amorsolo Y Cueto (Paco 1892-1972 Quezon City) El descanso de la siega signé et daté 'F. Amorsolo 1949' (en bas à droite) huile sur toile signed and dated 'F. Amorsolo 1949' (lower right) 28.4 x 36cm (11 3/16 x 14 3/16in).

              Bonhams
            • Fernando Cueto Amorsolo (Filipino, 1892-1972) Workers in Rice Field, 1952
              Oct. 28, 2024

              Fernando Cueto Amorsolo (Filipino, 1892-1972) Workers in Rice Field, 1952

              Est: $30,000 - $50,000

              Fernando Cueto Amorsolo (Filipino, 1892-1972) Workers in Rice Field, 1952 Oil on canvasboard Signed F. Amorsolo and dated (lower right) 14 x 18 in. (35.6 x 45.7cm) This lot is located in Philadelphia. Property from the Collection of Chloe Jachim, Seattle, Washington.

              Freeman’s | Hindman
            • Fernando Amorsolo (1892 - 1972)
              Oct. 26, 2024

              Fernando Amorsolo (1892 - 1972)

              Est: ₱160,000 - ₱208,000

              Lady with Umbrella stamped (lower left) graphite on paper 8" x 4 1/4" (20 cm x 11 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972)
              Oct. 26, 2024

              Fernando Amorsolo (1892 - 1972)

              Est: ₱80,000 - ₱104,000

              Portrait of a Lady signed and dated 1935 (lower left) oil on wood 12" x 9 1/2" (30 cm x 24 cm)   One could argue that Fernando Amorsolo is the most influential Filipino artist, living or dead. The “Grand Old Man of Philippine Art” became the face and image of Filipino art itself – his rural scenes are the first image when one thinks of the Philippine art scene and the standard with which his contemporaries and juniors have to contend with as they go about their career. However, despite his status as a genre painter, Amorsolo is also a famed portrait painter, a skill honed when he was trained by José Moreno Carbonero and Cecilio Plá y Gallardo during his sevenmonth sojourn in Spain. Amorsolo’s portraits are saturated in the classical innocence and grace that is in line with his background. This romanticism is evident in his 1935 Portrait of a Lady. An oil-on-wood piece, Amorsolo wields the notoriously difficult medium with ease, creating a captivating image of his muse with whom he portrays with quiet grace. Suffusing this portrait with the muse’s essence, Amorsolo immortalizes this woman’s memory, fulfilling a deep-seated wish of many to preserve and celebrate their lives and memories. (Hannah Valiente)

              Leon Gallery
            • Att. to Fernando Cueto Amorsolo (1892-1972) Oil on Canvas
              Oct. 20, 2024

              Att. to Fernando Cueto Amorsolo (1892-1972) Oil on Canvas

              Est: $4,000 - $6,000

              A portrait of a partly nude woman. Signed, located for Manila and dated 1971 at the lower right corner. Dimensions: 36" x 24", Frame 41" x 29" Provenance: From a Bucks County collection. 

              Locati LLC
            • FERNANDO CUETO AMORSOLO (1892-1972). Fruit Vendor. oil on canvas 51.4 x 41.
              Sep. 27, 2024

              FERNANDO CUETO AMORSOLO (1892-1972). Fruit Vendor. oil on canvas 51.4 x 41.

              Est: $380,000 - $480,000

              FERNANDO CUETO AMORSOLO (1892-1972). Fruit Vendor. oil on canvas 51.4 x 41.2 cm. (20 1⁄4 x 16 1⁄4 in.).

              Christie's
            • Fernando Amorsolo (1892 - 1972) - Fishermen
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Fishermen

              Est: ₱6,800,000 - ₱7,000,000

              Fernando Amorsolo (1892 - 1972) Signed and dated '1957' (lower right) Oil on canvas 46 x 61 cm (18 x 24 in) Fernando Amorsolo's 'Fishermen,' painted in 1957, captures the tranquil essence of rural Philippine life, influenced by his childhood in the coastal town of Daet. Unlike his usual sunlit scenes of farmers, this work depicts fishermen returning at dusk, their boat gently moored as the sky blazes with orange and red hues. The serene atmosphere reflects the day's end, where labor gives way to rest, surrounded by nature's beauty. Amorsolo's Impressionist influence is evident in his treatment of light, with the setting sun's rays dappling the water, creating a luminous, calming effect. His mastery of oil painting shines through in the delicate brushwork, especially in the sky's soft transitions and the water's reflective surface. This painting not only showcases Amorsolo's technical skill but also his deep connection to his subjects, embodying the idyllic charm and peacefulness that make his works beloved and iconic, capturing the timeless allure of rural life. Provenance documentation provided by the present owner states that this lot was previously shown to Sylvia Amorsolo-Lazo, who confirmed its authenticity.

              Salcedo Auctions
            • Fernando Amorsolo (1892 - 1972) - Harvesting Perales
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Harvesting Perales

              Est: ₱5,800,000 - ₱6,500,000

              Fernando Amorsolo (1892 - 1972) Signed and dated '1949' (lower right) Oil on canvas 45.7 x 61 cm (18 x 24 in) Provenance: Private Collection, USA 20th Century and Contemporary Art (Morning Session), lot 151, Christie's Hong Kong, 26 May 2019 Private Collection, Quezon City This 1940s oil-on-canvas painting by National Artist Fernando Amorsolo, from his celebrated 'Golden Period,' depicts farmers resting beneath a large tree, echoing the themes found in his iconic 'Afternoon Meal of the Rice Workers' series. Don S. Amorsolo, the artist's grandson and Dean of the UE College of Fine Arts, Architecture, and Design, reflects on the portrayal of women in these works, highlighting their essential roles in both domestic and agricultural settings. In Amorsolo's paintings, women are depicted working alongside men, a dynamic clearly visible in the foreground and middle ground. This composition allows viewers to peer into the daily lives of these workers as if through a 'window,' offering a layered understanding of their world. French psychoanalyst Jacques Lacan's theories on the signifier and the signified offer further insight into Amorsolo's approach. Lacan suggests that the signifier--the form or appearance of a symbol--does not carry a fixed meaning but gains significance through context. In Amorsolo's art, the recurring images of peasant figures act as stable signifiers, symbolizing the essence of rural life. Their consistent presence is not a mere repetition but a deliberate choice, reflecting Amorsolo's deep connection to his symbolic universe and his personal experiences. Rather than signaling a lack of variety or reliance on familiar themes, the repetition of these figures is an intentional artistic strategy. It emphasizes Amorsolo's ongoing exploration of his symbolic world, with each painting representing a return to the imagined landscape of his youth. Through this approach, Amorsolo not only revisits but deepens his portrayal of peasant life, adding thematic richness and personal resonance to his work. Reference: Sylvia Amorsolo Lazo, et al, Maestro Fernando C. Amorsolo: Recollections of the Amorsolo Family, Fernando C. Amorsolo Foundation, Inc., Quezon City, 2011, pp. 43-49

              Salcedo Auctions
            • Fernando Amorsolo (1892 - 1972) - Carabaos at Sunset
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Carabaos at Sunset

              Est: ₱1,300,000 - ₱1,690,000

              PROPERTY FROM THE COLLECTION OF A VERY DISTINGUISHED FAMILY Carabaos at Sunset signed and dated 1959 (lower right) oil on canvas 16" x 12" (41 cm x 30 cm) LITERATURE Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 96. WRITE UP Of Pastures and Sunsets Amorsolo Reminisces on His Childhood The works of Fernando Amorsolo revel in the pastoral and the provincial. Spending a few years of his childhood in Daet, Camarines Sur, Amorsolo continued to be enamored with the countryside even when he moved to the capital, visiting the adjacent provinces of Laguna and Bulacan to continue painting his genre works. By the mid-20th century, Amorsolo had already reached the height of fame and then more when in 1959, the UNESCO National Commission granted the already famous painter a gold medal of recognition, adding another accolade to his long list of awards. Amorsolo had resigned from his post as the dean of the UP School of Fine Arts in 1952 to focus on his painting full-time – and focus he did. Throughout his career, he had become the face of Philippine art with his pastoral countrysides, bathers in the creeks, and the dalagang Pilipina becoming the standard that his colleagues and the newer artists either conform or break. His 1959 Carabaos at Sunset showcases Amorsolo’s skill that UNESCO acknowledged and awarded in the same year. “The rural scenes that Papa painted were based from the actual day-to-day chores of the simple and poor people that he observed as a young lad until his growing years,” writes his daughter Sylvia Amorsolo Lazo in Amorsolo: Love and Passion. Indeed, it is quite easy to imagine the young Amorsolo as he sees a frolicking pack of carabaos in the field, his eyes picking out the blues of the skies and the browns of the carabao’s skin. In this piece, Amorsolo depicts the golden-pink hues of the sunset skies as they burst forth from behind giant fluffy clouds. Unlike today's rural situation, the carabaos have for themselves a huge plot of land to prance around and rest. and Amorsolo's depiction of this bucolic scene ramps up the nostalgia for the good old days. As he washes the scene with a warm orange light, quite unlike the vibrancy of his midday sun, one feels compelled to take a rest on the soft green grass and experience for themselves the slow life the province has to offer. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Ifugaos in Mines View Park
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Ifugaos in Mines View Park

              Est: ₱6,000,000 - ₱7,800,000

              Ifugaos in Mines View Park signed and dated 1934 (lower right) oil on canvas 19” x 26” (48 cm x 66 cm) WRITE UP A Double Gold for Fernando Amorsolo with a Record Number of Noble Northmen by E. A. SANTAMARIA Upon Fernando Amorsolo’s return to the Philippines in 1920, he would almost immediately go from strength to strength, painting tirelessly. His daughter Sylvia Amorsolo-Lazo would recall him saying, “I cannot remember a time when I didn’t want to draw or paint.” And draw and paint, he did In the Twenties, he would create a stream of posters and medals for the Manila Carnival, an annual American-style exposition that featured spectacles and beauty queens, as well as a seemingly endless series of calendars and magazine covers. This, too, would mark the beginning of the paintings that would give his painterly benediction to the idyllic life of the Filipino countryside and its people. The 1930s would consequentially blossom into Amorsolo’s ‘golden period.’ The decade would open with the maestro’s breakthrough participation in the Exposition Coloniale Internationale (International Colonial Exposition) of Paris, 1931. The French newspapers of the time reported that paintings ran the length of the Philippine pavilion of some 30 meters and depicted the history of the islands from 1521 to the American regime. It was a project created alongside his mentor (and uncle) Fabian de la Rosa, and cemented Amorsolo’s stature among the greats of Philippine art, like Luna and Hidalgo, who had also proved their mettle in the City of Lights. Later in the year, Amorsolo’s twin historical murals were unveiled for the Juan Arellano art-deco masterpiece, the Metropolitan Theater of Manila. Both sides of the highceilinged lobby were bookmarked by the lyrical works, “The History of Music” and “Ritual Dance.” Amid the backdrop of an era of boundless optimism of the Philippines future — the Philippine Commonwealth law was finally approved in 1934 — another kind of golden age awaited Amorsolo. It was literally, the Baguio gold rush that also began that year, sparked by an enormous leap in prices for the world’s most precious commodity. Seemingly overnight, hundreds of gold mines were registered in the Philippine Securities and Exchange Commission, with a total capitalization of almost a staggering $100 million. Prospectors, engineers, and investors flocked to Manila — and Baguio — and with it, newly-minted American mining millionaires and their retinues. Offices were feverishly opened in the banking district of Binondo; while the mining community gravitated to elegant enclaves in Ermita and ‘the Little Baguio’ of San Juan. These all had to be furnished with symbols of that new-found wealth and were a fresh market for Amorsolo’s story-telling talents that dovetailed serendipitously with his clients’ fascination for the noble northern tribes. Mrs. Amorsolo Lazo would reminisce that ‘Papa’ would travel to Baguio “to meet clients mostly American executives of mining firms, who would commission him to paint beautiful Baguio scenes.” Her father, she would say, “would visit only a few days on each occasion, but would take advantage of those short stays by painting on the spot and in the open air.” He would return often to capture the splendid vistas, immortalizing the magical peaks and lush valleys of a bygone era. “Ifugaos in Mines View Park” puts together Amorsolo’s twin obsessions of this period — the breathtaking Cordillera landscape which also contained the richest veins of gold as well as the enchanting culture of the Ifugao. These would be the subjects in one way or another for this joyous series; although the work at hand adds a third reference to the lure of the gold mines. The unusual number of figures indicates that the piece would have been conceived for the highest echelon of mining elite. Twelve tribespeople spill gracefully across the mountaintop. following with their gaze, a lead figure carrying several earthenware stops on her head. She is followed by two men who stride down purposefully after her. More women and their children gather under tall evergreen trees — the green so fresh that one can almost smell the scent of pine. The group seems to catch their breath from the strain of bearing tall baskets of cabbages and other vegetables. (A teen seems to be mopping his brow.) One can sense Amorsolo chancing upon this view and creating the foundation of this picturesque mis-en-scène briskly on one bright, summer morning. Thick terracottacolored impasto — indeed, one of the signatures of his golden period — outline the rich reddish earth of the north. The blue skies above and mountain streams nestled in the majestic mountains are likewise boldly outlined. It is a homage to the hard-working character of the northern tribesmen and the now-lost beauty of their surroundings.

              Leon Gallery
            • LOT WITHDRAWN
              Sep. 14, 2024

              LOT WITHDRAWN

              Est: ₱2,000,000 - ₱2,600,000

              LOT WIITHDRAWN

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Silenced Japanese Cannon, Intramuros
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Silenced Japanese Cannon, Intramuros

              Est: ₱2,600,000 - ₱3,380,000

              PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Silenced Japanese Cannon, Intramuros signed, dated 1945 and inscribed “From the Original Painted in 1945”, (lower right) oil on canvas 16” x 20” (41 cm x 51 cm) WRITE UP The Filipina Spy who Silenced the Japanese Cannons by E. A. SANTAMARIA The Battle of Manila raged from February 3 to March 3 of 1945 — and was said to be the single deadliest urban warfare in the Asia-Pacific of World War II. It not only physically destroyed the metropolis and indiscriminately killed a massive number of civilians but lay waste the repositories of a nation’s culture. Japanese naval cannons were positioned in Intramuros and were used with deadly effect on pulverizing the sentinels of Philippine democracy from the Senate, the National Museum, and for this gun in particular, the Manila Post Office and the Manila City Hall, seen in these post-Battle photographs as shells of their former selves. But there were tales of heroism to be found in this desolation. Writing in Manila Nostalgia, Jose Maria Bonifacio Escoda featured an interview of the late Dr. Antonio “Tony” O. Gisbert, who he said was “the only one who knew the story of this last Japanese cannon — which was also the only one he failed to identify for the celebrated female guerrilla Josefina “Joey” Guerrero.” He continued, “she handed all the details of these deadly anti-aircraft guns to the Americans which were destroyed during the first air raid of the Americans on September 21, 1944.” This particular gun, which survives to this day, evaded destruction “because it was hidden in the walls and rolled out when it shelled City Hall and the Post Office.” Dr. Gisbert had married into the Guerrero family and during the war would reconnoiter around Intramuros, committing the locations of the artillery to his memory, and smuggle the sketches to Josefina Guerrero. The ground floor of the house she lived in was entirely occupied by the Japanese military — making it doubly dangerous. Josefina had become afflicted by leprosy before the War and the invasion of the Japanese cut off supplies of the medicine that could arrest her deadly disease. She made up her mind, her memoirs say, “not to die a slow and painful death but to live a heroic life.” She enlisted with the Resistance and became a valuable courier of information that saved thousands of Filipino and American lives. As her illness progressed and the lesions became more apparent, she had become obliged to wear a veil and carry a warning bell. The Kempeitai gave her a wide berth, allowing her to move freely and excusing her from body searches. It made her the perfect wartime spy. Joey, incidentally, was married to another doctor, Renato Ma. Guerrero, brother to the famous playwright Wilfrido Ma. Guerrero. After the war, she faced renewed exile in leper colony north of Manila, where she fought for patients’ rights amidst deplorable conditions. Fernando Amorsolo’s daughter Sylvia wrote in Remembering Papa, “Father sketched war scenes from his window or sometimes on the rooftop to catch a quick glimpse of the planes fighting in the sky.” As the battle went on, destruction befell the capital city. Amorsolo, even at his age (he was, by then, 53), considered it his patriotic duty to document the horrors of the war. He painted every day, diligently recording these scenes of both tragedy and victory even as his health declined — like Guerrero and countless other Manilans — due to the lack of medicine. This last remaining Japanese cannon, now finally silenced, would be discovered in the Baluarte de San Diego, a relic of those terrible times, with live ammunition still strewn around it after the Battle of Manila. It must have made a searing impression of the Japanese army’s ultimate and permanent defeat that Amorsolo recorded that he had made two paintings of this important tribute

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Under The Mango Tree
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Under The Mango Tree

              Est: ₱4,000,000 - ₱5,200,000

              PROPERTY FROM THE JOHN WILLIAM HAUSSERMANN COLLECTION Under The Mango Tree signed, dated 1948 and inscribed "Manila" (lower right) oil on canvas 19 1/2” x 27” (50 cm x 67 cm) PROVENANCE Acquired directly from the artist WRITE UP Fernando Amorsolo is one of the most revered artists in Philippine art history. For a long time, the Amorsolo genre, characterized by his realistic images of the bucolic Filipino countryside-scenes of rural life, landscapes, and everyday activities depicted in vibrant hues, dominated the Philippine art scene. Amorsolo’s contemporaries and emerging artists alike followed this style and subject matter. The work at hand exhibits a scene during the harvest season, except it’s shown from a different angle. In view is a group of country folks resting under the shade of a mango tree: one is a gray-bearded man sitting on the overgrown root; beside him on the right is a young lady holding a bilao, and on the man’s left is another young lady standing up while carrying a child; the three of them looking at another woman cooking at a make-shift charcoal stove. In the background are farmers working in the rice field under the blazing midday sun, a thematic element often used by Amorsolo to symbolize the harsh conditions of rural life, such as the intense heat and the physical toll of manual labor. Therefore, this work thoroughly captures not only the hard work but also the familial affection of the Filipinos: farmers working amidst the blazing sun and families waiting for and preparing food for their families to eat together. “He invested rural people with dignity and country life a feeling of contentment,” art essayist Alfredo R. Roces writes in Amorsolo (1975). Indeed, the master painter’s artistic bravura and use of light strokes and vivid tones can create masterpieces that elevate Filipino folklife and spread its various emotions through the viewers. To this day, his influence in the art field is still strong, and many people want to get ahold of his works, drawn to the sheer beauty and aesthetic pleasure they offer, admiring the skill and vision that went into their creation. (Jessica Magno)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Portrait of Mrs. Montilla
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Portrait of Mrs. Montilla

              Est: ₱300,000 - ₱390,000

              Portrait of Mrs. Montilla signed and dated 1954 (lower right) oil on canvas 26 1/2” x 20 1/2” (67 cm x 52 cm) PROVENANCE Adelina Ines Montilla Montilla (Nelly Montilla / Mr. Ramon Zamora Paterno / Mr. Primitivo Valerio Lovina) WRITE UP Doña Josefa Ortaliz y Jordan known as “Pay” was a beautiful Spanish mestiza of a prominent family from Iloilo in Panay island who married Don Bonifacio Montilla y Yanson of Pulupandan, Negros Occidental, son of the Spanish patriarch Don Agustin Montilla y Orendain, ur–ancestor of all the Montillas of Negros island, and his wife the Chinese mestiza Dona Vicenta Yanson y Locsin–Zarandin. The Montillas were a prominent Spanish military and political family: Don Agustin’s father Don Jose Montilla was Governor– General of the Marianas islands in the 1820s. Don Agustin acquired, cleared, and planted vast tracts of agricultural land in Negros Occidental and built his palatial home known as “Balay Daku” during the 1840s --- one of the two largest residences in the province --- in the middle of his sprawling lands in barrio Ubay in Pulupandan town (the other large house being Don Aniceto Lacson y Ledesma’s famous 1880s Neo–Renaissance palace “Casa Grande” in barrio Matab–ang, Talisay town). The Montilla clan of Pulupandan town were famous landowners and powerful politicians southwest of Bacolod as were the Lacson and Lizares clans of Talisay town northeast of it. Dona Josefa Ortaliz y Jordan and Don Bonifacio Montilla y Yanson had seven children, one son and six daughters: Lina, Enriqueta, Marta, Agustin, Felisa, Soledad, and Bonifacia. Unfortunately, Josefa aka “Pay” passed away at a young age. Her eldest daughter Lina Montilla y Ortaliz (Sra de Candido Montilla) became the de facto mother to the younger siblings. The youngest daughter Bonifacia Montilla y Ortaliz (aka “Pasay,” Sra de Eugenio Veraguth) inherited the vast Balay Daku of her grandfather Don Agustin; she bequeathed it to her niece Angelina Mijares y Montilla (Mrs Bertram Percival Tomkins), daughter of her sister Marta Montilla y Ortaliz (Sra de Antero Mijares). Don Agustin Montilla and Dona Vicenta Yanson spawned a clan with many famous descendants: hacendero and BISCOM President Enrique Montilla Montilla; hacendera Marta Montilla Mijares (Mrs Carlos Benedicto Rivilla); socialite Adelina Ines Montilla Montilla (known as “Nelly”/Mrs Ramon Zamora Paterno/later Mrs Primitivo Valerio Lovina); businesswoman Teresa Arroyo Montilla (Mrs Vicente Lopez Araneta); philanthropist Maria Soledad Cuyugan Oppen– Cojuangco (known as “Gretchen”/Mrs Eduardo Murphy Cojuangco Jr); art & antiques collector and cosmopolitan bon vivant Herbert Montilla–Mijares Tomkins; technocrat Bonnie Rivilla Fuentes; architect Raymond Rivilla Fuentes; Atty Agustin Montilla IV, Chef Tonyboy Escalante; botanist and horticulturist Josef Montilla Sagemuller; businesswoman Gigi Lacson Lacson; tourism executive Baba Montilla Araneta–Escudero; businesswoman Mia Paterno–Rodriguez; and many others from the Montilla branches of the allied Mijares, Abello, Gonzalez, Oppen, (Veraguth), Esteban, Camara, Lopez, Fuentes, Rivilla, Tomkins, Mabus, Araneta, Lacson, Arroyo, Paterno, Lovina, Nieva, Montinola, Corral, Kramer, and Weber clans. According to their family tradition, Montilla descendants commissioned many oil portraits of their antecedents from master portraitist Fernando Amorsolo during the postwar period (from around 1946–60). Fernando Amorsolo was the Filipino portraitist par excellence of the twentieth century. His talent was recognized early during his youth and the multimillionaire art patron Don Enrique Zobel de Ayala sent him to Madrid for further studies; prestigious Zobel de Ayala patronage also set the bar for Amorsolo’s clientele which included Filipino high society and American and European expatriate businessmen. His portraits are visual records of affluent Filipino society from around 1920 to his passing in 1972; there was a time in Filipino social history (prewar–postwar) wherein a portrait or a genre painting by Fernando Amorsolo was “de rigueur” in every upper–class Filipino residence. His best portraits, especially from prewar, were dramatically lit with alluring chiaroscuro. However, he also had a Rembrandt–esque phase from the mid–1950s to the very early 1960s when he painted subjects with subdued, subtle, even dim lighting inspired by the great Dutch painter Rembrandt Harmenszoon van Rijn (o 1606 – + 1669). - (Acknowledgments: Mr. Josef Montilla Sagemuller)

              Leon Gallery
            • Three Sketches by Fernando Amorsolo (1892 - 1972) - a.) Barrio Scene b.) Sabungero c.) Portrait of a Man
              Sep. 14, 2024

              Three Sketches by Fernando Amorsolo (1892 - 1972) - a.) Barrio Scene b.) Sabungero c.) Portrait of a Man

              Est: ₱500,000 - ₱650,000

              PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION a.) Barrio Scene signed and dated 1941 (lower right) pencil on paper 8" x 10" (20 cm x 25 cm) b.) Sabungero signed and dated 1930 (lower right) pencil on paper 7" x 10" (18 cm x 25 cm) c.) Portrait of a Man signed and dated 1931 (lower right) pencil on paper 8" x 5 1/2" (20 cm x 14 cm) LITERATURE Duldulao, Manuel D. The Philippine Art Scene. Manila: Maber Books, Inc., 1977. Full color photograph on page 243; Catalogued in the caption on page 244 WRITE UP Through his works, Fernando Amorsolo invariably manifests his love and adoration for his home country. In their daily chores and activities, Filipino folks always adorn an Amorsolo piece. His versatility is evident in the thousands of paintings and drawings he produced throughout his career, using various mediums such as oil, acrylic, pastel, charcoal, and graphite. His use of these mediums allowed him to capture the essence of his subjects in different ways. Apart from his scenic countryside paintings, he also made drawing studies of farmers doing their cyclic chores and city folk doing their daily routines. “Amorsolo sketched incessantly,” Rodolfo Paras-Perez writes in Amorsolo: Drawings. Indeed, the maestro produced numerous drawings and sketches throughout his career, aside from his sunlit, picturesque oil landscapes. Amorsolo’s command of his mediums is evidenced by this three-piece lot of pencil-on-paper drawings: a.) Barrio Scene, b.) Sabungero, and c.) Portrait of a Man, where he expertly presented the hard work and simplicity of country life. These works evoke a sense of nostalgia and appreciation for the past. With just a single grade of pencil and careful strokes and scribbles, Amorsolo created depth and brought life to his drawings. (Jessica Magno)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Fire Tree
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Fire Tree

              Est: ₱7,000,000 - ₱9,100,000

              PROPERTY FROM THE JOSE MA. OSSORIO COLLECTION Fire Tree signed and dated 1959 (lower right) oil on canvas 24” x 34” (61 cm x 86 cm) WRITE UP Light has been a significant element in Fernando Amorsolo’s oeuvre, a product of his knowledge and organization of colors. The light from his concocted sun graced his paintings, creating an illusion of warmth that envelops the landscapes and the townsfolk in their daily activities. Amorsolo’s palette, characterized by bright and lyrical attributes, is a testament to his skill as a master colorist. Like any of his works, Fire Tree immortalizes the timeless beauty of nature and the serene countryside life. This 1959 piece captures the magnificent facade of the Santa Maria Church in Ilocos Sur, a structure that withstood the test of time. One of the long-standing and impressively made Spanish-era Baroque Churches of the Philippines, the Santa Maria Church was declared a UNESCO World Heritage Site on December 11, 1993. Amorsolo’s vivid hues bring to life a typical Sunday morning scene in Santa Maria. A flock of church-goers can be seen coming out of the admirable edifice; some are walking down the stairs, and some are already down. At the bottom of the stairs, a makeshift market in a nipa hut is bustling with vendors and buyers. The titular fire tree adorned the canvas with its vibrant orange hue, adding a feeling of warmth and liveliness that envelops the entire image in a comforting embrace. A cultural phenomenon in his lifetime, Amorsolo had a unique ability to turn any blank canvas into a buoyant image of his beloved country and compatriots. His genre and historical paintings not only offer appealing landscapes and portraits but also elicit a great sense of belonging to the Filipino nation. Amorsolo’s unparalleled artistry and his profound influence on the Philippine art scene continue to inspire and instill a deep sense of national pride, making his work a source of inspiration for all Filipinos. (Jessica Magno)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Bathers
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Bathers

              Est: ₱2,400,000 - ₱3,120,000

              PROPERTY FROM THE JOSE MA. OSSORIO COLLECTION Bathers signed and dated 1958 (lower right) oil on canvas 18” x 24” (46 cm x 61 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot WRITE UP The classical bearings of Fernando Amorsolo are exalted in his lavandera and riverside paintings. With the nude as the ideal representation of beauty in the Classical-Romantic art tradition, Amorsolo localizes the dryads and naiads of the West and turns them into the brown-skinned lithe women and children as they bathe, wash, and dress themselves. His 1958 Bathers shows the scene's intimacy – despite the various states of undress of the bathers, there is a sense of modesty about them. Amorsolo’s composition locks the scene by depicting only the verdant green grass of the banks and the cool clean water, creating a bubble around the children as though the little part of the river they were playing in is an oasis unreachable by trials and suffering. His encompassing composition did not make the painting as a whole feel claustrophobic; instead, the closeness exudes warmth, a comfort in the tiny space created by the children for them to enjoy all by themselves. The beauty of Amorsolo’s riverside paintings lies in his captivating backgrounds. “Papa took his time going to these places for his on-the-spot sketching and paintings,” says his daughter Sylvia Amorsolo-Lazo in the second volume of Amorsolo: Love & Passion. “I think his lavanderas were mostly painted in the provinces of Laguna and Bulacan, and along the Pasig River.” Amorsolo, like many of the Romantics of his era, exalts the bucolic Filipino countryside. His Bathers focused on an aspect he revered whenever he painted his genre works; through his masterful intertwining of subject and environment, Amorsolo emphasizes the innocence in these children. Their childlike wonder manifests itself in their carefree enjoyment. As the vivid sunlight filters through the leaves and dapples across the river, one can easily imagine their past and enjoy for a brief moment the innocent enjoyment of the days long gone. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Portrait of a Lady
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Portrait of a Lady

              Est: ₱300,000 - ₱390,000

              Portrait of a Lady signed, dated and inscribed Manila, 1926 (lower right) oil on canvas 33” x 25 1/2” (84 cm x 65 cm) PROVENANCE: Private collection, United Kingdom WRITE UP Fernando Amorsolo’s artistic acclaim had been steadily rising by the time the roaring twenties rolled in – among the first batch of graduates of the UP School of Fine Arts, Amorsolo’s prowess with the pen was recognized when he was given the position of Instructor of Elementary Drawing in his alma mater immediately after graduating in 1914. By 1918, he was promoted to Instructor of Painting, and by the next year, he left for Spain to study under the sponsorship of Enrique Zobel in a quest to refine his art further, proof of his incredibly moving art. Though mostly known for his genre pieces which exalt the bucolic Philippine countryside, Amorsolo is also an impeccable portraitist, as evidenced by his 1926 Portrait of a Lady. Unlike a usual portrait wherein the subject faces the viewer, Amorsolo portrays the titular lady with her hand on her hips, her fashionable French bob falling to her jaw as she faces to the side. The piece has a certain attitude to it, the air of a slight rebelliousness evident on the woman's set jaw and her hand placed on her hip. Here, Amorsolo not only immortalizes the visage of the woman but also her personality, her attitude bleeding into every part of this canvas. The Amorsolo legacy extends past his pastorale depictions of the Philippines – included in his majestic oeuvre are his portraits as he puts intimate and private to portray his great sensitivity to the personal. His portraits, like many that came before it, are imbued with the personality of his muse, putting onto canvas the age-old desire to immortalize one’s visage and memory. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Study of El Buen Samaritano
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Study of El Buen Samaritano

              Est: ₱1,300,000 - ₱1,690,000

              PROPERTY FROM THE COLLECTION OF A VERY DISTINGUISHED FAMILY Study of El Buen Samaritano signed and dated 1969 (lower right) oil on canvas 12” x 16” (30 cm x 41 cm) LITERATURE: Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 139. WRITE UP El Buen Samaritano is an oil study for a larger painting, as attested by its size and a photograph of Fernando Amorsolo posing in front of the final finished work. The piece depicts a poignant interpretation of the biblical parable of the good Samaritan. Found in the Gospel of Luke, the parable tells of the story of a man who fell victim to robbers while traveling from Jerusalem to Jericho. The robbers stripped him of his garments and possessions, beat him until he passed out, and left him dying on the road. “A priest happened to be going down that road, but when he saw him, he passed by on the opposite side,” Jesus narrates. “Likewise, a Levite came to the place, and when he saw him, he passed by on the opposite side. But a Samaritan traveler who came upon him was moved with compassion at the sight. He approached the victim, poured oil and wine over his wounds, and bandaged them. Then he lifted him up on his own animal, took him to an inn, and cared for him. The next day, he took out two silver coins and gave them to the innkeeper with the instruction, ‘Take care of him. If you spend more than what I have given you, I shall repay you on my way back.’” The Parable of the Good Samaritan was Jesus’ answer to a scribe who asked him what one must do to inherit eternal life. Amorsolo’s take on the biblical story came after a major eye operation in 1969, the year this work was painted. Thus, the work can be seen as a form of profound thanksgiving after the success of the medical procedure, a relief from a cataract that caused his sight to gradually fail and affected his painting procedures. The work depicts the scene in which the Samaritan finds the almost lifeless body of the physically assaulted man and proceeds to attend to his immediate medical needs. The Levite, who had previously seen the dying man but chose to ignore him, is depicted as a hazy shadow on the far right, with his back turned to the viewer. “It was Papa’s standard procedure to research and study references when commissioned to paint religious paintings,” Mrs. Sylvia Amorsolo-Lazo writes in Volume II of the book Amorsolo: Love and Passion. El Buen Samaritano is one in a storied list of works Amorsolo painted during the final years of his life. The figures still retain their fluidity. However, the brush strokes are nowhere near the vigor they possessed during Amorsolo’s prime. They are now softer, and the colors are noticeably softer and subdued. But what strikes the most in this work is Amorsolo’s enduring commitment to his art even in the face of physical limitations that naturally come with age. El Buen Samaritano showcases a master who not only left an indelible legacy to Philippine art but remained humble in the face of blinding fame and extended both financial generosity and creative enlightenment to the young and struggling artists of his time. (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Lady with Basket
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Lady with Basket

              Est: ₱5,000,000 - ₱6,500,000

              PROPERTY FROM THE EDWARD J. NELL COLLECTION Lady with Basket signed and dated 1929 (lower left) oil on wood 16 1/4” x 13” (41 cm x 33 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE: Acquired directly from the artist WRITE UP Amorsolo's Lady with Basket, another painting from the Edward J. Nell collection, comes from the same year as the previous lot, Under the Mango Tree. It was acquired by Nell around the same time he acquired Under the Mango Tree. Like the earlier work, he likely gifted it to his wife, Helen Mary Carr Hipkins, whom Isidra Reyes described in the Leon Gallery interview, appreciated more the finer things in life like art, as her husband had a hectic schedule running his business empire. The charming image of the dalaga may have also reminded Nell of Helen's timeless beauty. Lady with Basket features the same dalaga in Under the Mango Tree. While the dalaga takes her much-needed afternoon siesta in the previous work, Lady with Basket sees the dalaga working in the morning, peddling her fresh produce around the neighborhood. In the background, a group of women engaging in lively discussions around a table filled with commodities are active indicators of a vibrant market scene by the road. Lady with Basket and Under the Mango Tree, which both come from the artistic, commercial, and popularity peak of Amorsolo, are undoubtedly the jewels in Edward Joseph Nell's collection. But beyond being commissioned by an American magnate, the work at hand resonates particularly with the nation with its vibrantly rich display of Filipino essence. Lady with Basket is yet another epitome of Amorsolo's contribution to the flowering of Filipino civic and cultural nationalism of the 1920s up to the 1930s, which resulted from the optimism for the Philippines' eventual independence. Amorsolo's emphasis on the image of the native dalaga as someone possessing an active role in society further strengthened the notion that a collective consciousness rooted in the fostering of the autochthonous and the agricultural is essential to understanding one's history and identity. The Filipinismo shown by Amorsolo and his pastoral paintings manifests an ideal of the agricultural land being tilled by the natives as an intrinsic element of the map to sovereignty and genuine development. Through Amorsolo's paintings of the indigenous, which found their way on the front pages of the most popular magazines and newspapers and the colored calendars, people from all over the country, especially those in the provinces whose living and being, culture and heritage, are evocatively captured in the maestro's canvas, found a way to familiarize and identify themselves with his art. In the process of this identification, Amorsolo became a household name, and he became the very definition of Philippine painting. Amorsolo's contribution to the flowering of Philippine painting was indelible. So omnipresent was his art that he unwittingly introduced, to a significant extent, painting to people in the provinces whom Amorsolo exalted in his works. Even the champion and mother of Philippine modernism, Purita KalawLedesma, wrote an entire article in The Manila Chronicle titled "Amorsolo's place in Philippine art" (May 7, 1972) in the wake of Amorsolo's proclamation as the country's first national artist. "Amorsolo was lucky enough to live in an age where the art of reproduction had come into being." Kalaw-Ledesma writes. "Some of his paintings were reproduced in colored calendars of the Insular Life and the Filipinas Compania de Seguros. Through this means, many people in the provinces and even in Manila were able to appreciate good painting, where otherwise they would never have been exposed to this art. Thus, painting became synonymous with the word 'Amorsolo.'" Kalaw-Ledesma continues: "Every man has his place in the sun. To my mind, Amorsolo's contribution was his vision of the Philippine sunlight and landscape, and his portrayal of a happy era long gone (or maybe of one which had never existed), which we could look back to, when things look very bleak, as having been so once upon a time." (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Under the Mango Tree
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Under the Mango Tree

              Est: ₱18,000,000 - ₱23,400,000

              PROPERTY FROM THE EDWARD J. NELL COLLECTION Under the Mango Tree signed and dated 1929 (lower right) oil on canvas 38” x 38” (97 cm x 97 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE: Acquired directly from the artist WRITE UP In a recent interview with Leon Gallery, Mrs. Sylvia AmorsoloLazo, the maestro’s daughter, said that upon seeing the painting, memories of her father instantly flashed back. “I will simply say Papa is a genius. And I remember when he paints, it is so easy for him. So easy,” she reminisces. “Definitely, it is my father’s work,” Mrs. Lazo says. “Actually, this is the first time I have seen it when [Leon Gallery] brought it to my place for verification. But I have seen one in the 1950s, the same thing, but different strokes. So that is why I consider this as a masterpiece among the same painting compositions. The way I see it, all his styles in painting are there. The impasto [is] detailed.” Mrs. Lazo also adds that “a simple stroke will define the contour of the anatomy…As you look at the face of the woman, she looks so beautiful.” A Symbol of Filipino Nationalism Notice how, in this work, the radiance of the sunlight directly illuminates the dalaga and her charming face; she possesses a photographic likeness, a palpable realism. This is Amorsolo’s participation in the cultural self-assertion of the ‘20s, projecting the image of the Filipina to profess the pastoral indigenous as the foundation of Filipino identity amid the relentless surge of Americanized modernity. It is Amorsolo embodying the Filipino civic and cultural nationalism of the first decades of the 20th century that went hand in hand with the debates for the country’s independence after four centuries of colonial rule. Amorsolo emphasized the Filipinismo of the period (when folk motifs like the kundiman and native dances were being revived, the balagtasan that extolled the virtues of the dalaga rose to fame, and Philippine history and culture were heavily researched by Filipiniana scholars like Teodoro Kalaw) through the dalaga and the tropical sunlight as embodiments of a country whose identity is rooted in the agricultural. After all, land is intrinsically tied to one’s culture and identity. Amorsolo’s aggressive interest in pursuing the autochthonous rather than the Americanized seeped through the national consciousness amidst the foreign demand for his works. Mojares writes, “With the fever for things Philippine, Amorsolo’s art was everywhere—advertising posters, calendars, magazines, textbooks, postage stamps, even product labels. Few artists contributed as much to the country’s stock of “national” images.” Mrs. Lazo said that her father’s favorite is the mango tree, for it symbolizes the family. Aside from being a ubiquitous landmark in virtually every corner of the country, the mango tree resonates with the Filipino collective experience. It is a symbol of abundance and fertility, encapsulating the shared struggles and continuing hope of a people for an allembracing and empowering progress. As critic Alfredo Roces writes in the book Amorsolo, the maestro “gave the nation a sense of confidence in its culture, pride in its beauty, joy in its simple day-to-day living, and graciousness in the face of reality.” (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Igorots Overlooking the Cordilleras
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Igorots Overlooking the Cordilleras

              Est: ₱5,000,000 - ₱6,500,000

              PROPERTY FROM THE PRISCILLA L. CHIONGBIAN COLLECTION Igorots Overlooking the Cordilleras signed and dated 1928 (lower right) oil on wood 15” x 20” (38 cm x 51 cm) PROVENANCE: Acquired directly from the artist WRITE UP Looking Through the Lens of the Indigenous Amorsolo Paints the Igorots of the Cordilleras The heart and soul of what it means to be Filipino at a crucial turning point in our history runs deep in the works of Fernando Amorsolo: romantic and idyllic yet profoundly echoes the nationalistic sentiments of his time. In the 1920s, when a renewed sense of Filipino nationalism was at its height, spurred by the incessant and heated debates for the independence of the Philippines from four centuries of colonial rule, Amorsolo’s pastoral paintings became the quintessential image of the Filipino people, who were, consciously or unconsciously, rebelling against the relentless “Americanization” of the nation. “Faced with Americanization and urbanization, the national identity sought to reaffirm itself in the pastoral life of Filipinos,” critic Alfredo Roces writes in his 1975 monograph on Amorsolo. The kundiman became the popular music, fostered by the likes of Nicanor Abelardo and Francisco Santiago, folk dances were being “rediscovered,” compiled, and studied by Francisca Reyes, and Amorsolo’s dalagang bukid was at the helm of promoting the autochthonous pastoral as the foundation of the Filipino identity. There was another facet to Amorsolo’s art during the 1920s besides the ubiquitous image of the charming and innocent dalaga. Beginning in the mid to late 1920s, Amorsolo produced a series of works centering on the Indigenous tribes of the Philippines, particularly the Igorots inhabiting the cold mountains of the Cordilleras in Northern Luzon. Igorots Overlooking the Cordilleras is a breath of fresh air from Amorsolo’s mostly Tagalog-centric genre paintings. Amorsolo’s vigorous strokes and heavy impastos attest to the artist’s dynamic and confident creative flair during his “golden years.” Cool tones dominate the composition, evoking the temperate climate of the Cordillera region. Amorsolo’s colors are rich and “pure.” Amorsolo depicts four Igorot women resting amid a panoramic backdrop of a majestic mountain, which the artist renders in hazy blues and outlined with faint dabs of paint. Amorsolo’s knowledge of indigenous culture is evident in his depiction of the kayabang, a conical rattan basket used exclusively by the Ibaloi women to collect, carry, and transport fruits, vegetables, and crops, such as games (yams) and camotes grown through swidden farming techniques in Benguet. The kayabang is worn around the head and supported on both sides by two long straps of rattan called the apid. The kayabang brought convenience to the Ibalois as the basket filled with goods was supported by the head rather than the torso, helping them traverse the steep mountain slopes of the Cordilleras. Amorsolo also depicts the Ibaloi women donning their “divit,” a two-piece clothing composed of the “kambal” (upper garment) and the “divit” (wrap-around lower garment). Amorsolo’s Igorots Overlooking the Cordilleras is essentially an anthropological record and a part of the broader scope of “Filipinism” of the 1920s. The indigenous groups of the Cordilleras, who had successfully repealed centuries of colonial rule and maintained their cultural integrity, have been subjected to fetishization and sensationalism and deemed “savage, primitive, and inferior” by the Americans, especially at the “human zoos” of the 1904 St. Louis World’s Fair. Igorots Overlooking the Cordilleras shows Amorsolo at the height of his impressionist powers, adamant about the power of his brush in elevating the indigenous into the national consciousness. For Amorsolo, the indigenous is an integral part of the collective national identity that makes the Philippines a harmonious whole. It is in the indigenous that a people’s identity and, ultimately, culture and history, ideals and aspirations sprang forth. (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Ruins of War
              Sep. 14, 2024

              Fernando Amorsolo (1892 - 1972) - Ruins of War

              Est: ₱2,000,000 - ₱2,600,000

              Ruins of War signed, dated April 24, 1945 and inscribed Manila (lower left) oil on canvas 18” x 24” (46 cm x 61 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE: Private collection, USA WRITE UP The Pacific Theater of World War II did not spare the Philippines from the horrors of the war. Then a territory of the United States, the Philippines was thrown in the middle of the war, with its capital Manila suffering great casualties and considered one of the most devastated capital cities alongside Berlin and Warsaw. This devastation had affected many Filipinos trapped in the city capital, with one of them the elderly Amorsolo. The quinquagenarian (or a fifty-year-old) Amorsolo was left significantly weakened by the battle. His daughter Sylvia Amorsolo-Lazo said in a September 2022 interview with ANCX that he, along with the men of the family, stayed in their house during the occupation. “We lived near Azcarraga before the War, but when the Japanese set up a garrison right across the street from our house,” she recalls. “My father wanted to keep all the womenfolk safe; so he hired another house ... in Raon. My mother and all the girls were sent there. Papa and the boys stayed in that house on Morayta.” This stay at Morayta also almost became a death sentence for the elderly Amorsolo. Already in his fifties, he was also a diabetic and the ongoing war made medications extremely difficult to procure. After the Battle of Manila, American businessman and US Intelligence Chick Parsons made rounds at the war-worn city in search of the sick and the injured. Among the injured and in need of insulin is Amorsolo, languishing in the dim corner of his studio. Even excluding his medical needs, the horrors of the war have embedded itself in Amorsolo’s psyche. “Papa had a black and white camera then but I don’t know if he was using it to capture the scenes,” Mrs. Sylvia says. “He would tell us that he would even go up on the roof of the house in Azcarraga to look at the airplanes on their bombing runs.” “My father had a collection of newspapers of every single day of the War,” Mrs. Sylvia adds. “He used his works to depict the war crimes and the refugee crisis.” The result is a 1940s frenzy of Amorsolo’s recollection of the war. The Lot in Hand, a 1945 oil painting entitled Ruins of War, portrays the decimated ruins left by the war. Amorsolo had dated the piece April 24, 1945, right in the heat of the war as many Axis countries would unconditionally surrender in the months to come. The Battle of Manila was waged for a whole month, where intense destruction befell when American bombing leveled out large areas of the “Pearl of the Orient Seas.” Manila became the battleground of the fiercest urban fighting fought by the American forces in the Pacific War, with countless cultural and historical treasures lost to the carnage. It was in this backdrop that Fernando Amorsolo approached his 1940s war paintings. In Ruins of War, his classical style and vivid sunlight is still evident and yet it shines down on ruins. Here, one can see the rubbles of concrete after the bombing; here, they can see a row of decimated houses, roofs blown out into the air. Despite the traditional beauty of his works, he does not shy away from depicting the horrors of the war. This is Amorsolo, inhibited and free, stealing away whatever time he had to go up to their rooftop and depict whatever it is his eyes see. “My father would paint every day,” Mrs. Sylvia says. “He hated being idle but during the War, he believed that it was important and that he needed to record what was happening around him.” (Hannah Valiente)

              Leon Gallery
            • PHILIPPINE FERNANDO CUETO AMORSOLO PORTRAIT PAINTING
              Sep. 08, 2024

              PHILIPPINE FERNANDO CUETO AMORSOLO PORTRAIT PAINTING

              Est: $100 - $150

              Fernando Cueto Amorsolo, Philippine, 1892 to 1972, mixed media painting on paper depicting a portrait of a woman, 1948. Signed and dated, lower right. Matted and framed. Fernando Amorsolo is known for Philippine landscape, wartime scenes and portrait painting. Fernando Amorsolo painted and sketched more than ten thousand pieces over his lifetime using natural and backlighting techniques. His most known works are landscapes of his Philippine homeland, portraits and WWII war scenes. One of a kind artwork.

              Antique Arena Inc
            • FERNANDO AMORSOLO (PHILIPPINES, 1892-1972)
              Aug. 23, 2024

              FERNANDO AMORSOLO (PHILIPPINES, 1892-1972)

              Est: $400 - $600

              FERNANDO AMORSOLO (PHILIPPINES, 1892-1972) Nude Woman Looking at a Print, lithograph on paper, signed in print, housed in modern gold frame, matted under glass, OS: 23" x 19", impression: 10 1/4" x 7 3/4".

              Thomaston Place Auction Galleries
            • Fernando Cueto Amorsolo (Philippine, 1892-1972) Attributed to, Woman Carrying Water Landscape, signed and dated 1935 lower right, oil on canvas, 21 1/4" x 18", Framed-24 1/2" x 21 1/4".
              Jul. 27, 2024

              Fernando Cueto Amorsolo (Philippine, 1892-1972) Attributed to, Woman Carrying Water Landscape, signed and dated 1935 lower right, oil on canvas, 21 1/4" x 18", Framed-24 1/2" x 21 1/4".

              Est: $3,000 - $6,000

              Fernando Cueto Amorsolo (Philippine, 1892-1972) Attributed to, Woman Carrying Water Landscape, signed and dated 1935 lower right, oil on canvas, 21 1/4" x 18", Framed-24 1/2" x 21 1/4".

              Auction Gallery of the Palm Beaches
            • Fernando Amorsolo (1892 - 1972)
              Jul. 27, 2024

              Fernando Amorsolo (1892 - 1972)

              Est: ₱240,000 - ₱312,000

              Portrait of a Woman signed and dated 1941 (lower right) oil on canvas 19" x 15" (48 cm x 38 cm)

              Leon Gallery
            • Fernando Cueto Amorsolo, Nude Study
              Jul. 20, 2024

              Fernando Cueto Amorsolo, Nude Study

              Est: $3,000 - $4,000

              Fernando Cueto Amorsolo (Filipino, 1892-1972), nude study, pencil on paper, signed L/L and dated 1926, 24" x 12", framed 29" x 17". Provenance: Westbury, New York collection.

              Kaminski Auctions
            • Fernando Amorsolo (1892 - 1972) - Lavandera
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Lavandera

              Est: ₱6,000,000 - ₱7,800,000

              Lavandera signed and dated 1939 (lower right) oil on canvas 14 1/4" x 18 1/4" (36 cm x 46 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot Amorsolo’s Lavandera Beauty by the Brook By the 1930s, Fernando Amorsolo was already a household name, not just within the Philippine art circle but even beyond that. His works encapsulate the gentle and pleasant atmosphere of the rural Philippines amidst the rapid urbanization and modernization that the country faced at the time. “Through the thirties, Amorsolo remained highly imaginative and active, periodically going outdoors,” Alfredo Roces wrote in Amorsolo. “Stimulated by the nostalgia around him for the changing country life, he painted rural life as genre rather than aspects of city life.” The Amorsolo school of thought continues its reign over the Philippine art scene with the maestro’s romantic depictions of the Philippine countryside continuing to influence the new wave of artists. This firm grasp on the Philippine art scene was further emphasized when in 1938 Amorsolo was given the title of director in UP School of Fine Arts, a post previously held by his uncle and mentor Fabian de la Rosa. Among his favored themes is the lavanderas. Often depicting his beloved dalaga (yet another of his favorite subjects), Amorsolo, trained in the classical romantic art practice, gives a Filipino spin to the Greco-Roman practice of depicting dryads and naiads. He turns the mythical creatures into Filipino washerwomen and bathers frolicking in the stream, Amorsolo’s 1939 Lavandera focuses on a sole washerwoman. Perched on a shallow rock, the dalaga scrubs through her laundry. She has wrapped around her lithe body a towel and the sunlight shines down her back, lighting up her beautiful brown skin. Amorsolo’s daughter Sylvia Amorsolo Lazo revealed in Amorsolo: Love & Passion that most of his lavandera paintings are painted on the spot. “I think his lavanderas were mostly painted in the provinces of Laguna and Bulacan, and along Pasig River,” Mrs. Sylvia said. This gave his works a more intimate and natural feeling – his composition feels more closed and intimate as bamboo leaves creep in from the corner, reminding the viewers of the vast world outside the canvas. The river ripples as the sunlight bounces off its surface, and the waters cool under the tree’s shade. The lavanderas are among Fernando Amorsolo’s most enduring subjects. Mrs. Sylvia recounts that her father’s lavanderas are “ideal, beautiful Filipinas who lived in a pastoral landscape of woods, streams, and mountains." Indeed, as Amorsolo returns again and again to the local washerwomen, he depicts a sweet and dignified young woman, armed with the strength of character that Amorsolo reveres and respects within his Filipino dalaga. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Water Carrier
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Water Carrier

              Est: ₱7,000,000 - ₱9,100,000

              Water Carrier signed and dated 1928 (lower right) oil on canvas 16" x 13" (41 cm x 33 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE: Private collection, USA A Dazzling Dalaga from Amorsolo’s Golden Period A Painter At The Height of His Powers Fernando Amorsolo was the most popular Filipino painter when the late 1920s flexed its advent. The 1920s was a decade most associated with and permeated with nostalgia. As the Philippines advanced from the early years of the 20th century when the Americans solidified their colonial rule on the archipelago, so did the brisk modernization and Americanization brought by the new imperial masters. Amorsolo swiftly rose to fame with his art. His muse, the dalagang Filipina, became the quintessential image of the budding nation. An artist who rode "on the crest of national nostalgia for the Filipino pastoral lifestyle," as noted by Roces, Amorsolo embodied not only the spirit of the times; he elevated painting, injecting it into the collective consciousness, thus underscoring the Filipinismo of the period through his charming images of the indigenous amid the influx of American influences. Writes National Artist for Literature Resil B. Mojares in his article "The Formation of Filipino Nationality Under U.S. Colonial Rule," "With the fever for things Philippine, Amorsolo's art was everywhere—advertising posters, calendars, magazines, textbooks, postage stamps, even product labels. Few artists contributed as much to the country's stock of "national" images." Roces also remarks that Amorsolo "gave the nation a sense of confidence in its culture, pride in its beauty, joy in its simple day-today living, and graciousness in the face of reality." In this 1928 work, titled Water Carrier, from his "Golden Period of the 1920s to the 1940s," Amorsolo gloriously bathes the entire composition in the warm exuberance of the Philippine sunlight. At the height of his fame and creative powers, Amorsolo uses the Philippine tropical sunlight as a metaphor for the pastoral roots of Philippine society, in which nature and agricultural undertakings take center stage as the wellspring of indigenous knowledge and heritage. The vivid outburst of the sun's illuminating rays exalts the dalaga's endearing face, displaying Amorsolo's affinity for the native woman as the defining muse of his art, which is in line with the Filipinismo of his period that casts light on the enduring images of Juan de la Cruz and the Dalagang Filipina, both donned in their traditional garments and engaging in their indigenous undertakings as the personification of the Philippines. In the words of the "Father of Kundiman Art Song," Francisco Santiago, "a sense of love and admiration for what is primitive and autochthonous." When Amorsolo painted this work, Amorsolo had been teaching painting for a decade in his alma mater, the UP School of Fine Arts. Coinciding with this was his work on a series of covers depicting various images of the dalagang Filipina for the widely-circulated Philippine Education Magazine (the paintings were produced by Amorsolo together with his brother Pablo, his uncle Fabian de la Rosa, and Irineo Miranda). Water Carrier follows the line of Amorsolo's pursuit of elevating the native heritage during this crucial period for the formation of a national identity. Water Carrier was also a testament to Amorsolo being the brightest star on the Philippine art, and perhaps, cultural scene, by the late 1920s. In 1928, the year the work at hand was painted, Amorsolo participated in a landmark cultural exhibition at the Ayuntamiento in Intramuros. His works hang prominently together with paintings by the revered old masters of Philippine art: Luna, Hidalgo, and Fabian de la Rosa. The June 1928 issue of The Philippine Magazine even praised Amorsolo's lighting techniques and palette as "more original than either Luna's or Hidalgo's." In the issue dated September 1929, Amorsolo's "Martin de Goiti Meeting with Rajah Soliman" (ca. 1922-23 and from the collection of Don Enrique Zobel, Amorsolo's patron) was featured as that month's cover. "In those days [pertaining to the early 1920s], Mr. Amorsolo was not so well-known and prosperous as he is today," remarks the magazine. The 1928 issue of The Philippine Republic christened Amorsolo, the country's most famous painter, featuring him alongside sculptor Guillermo Tolentino as "The Philippines' Most Famous Artists." From a modern critic's perspective, Roces succinctly explains how Amorsolo singlehandedly dominated the country's "peacetime" cultural scene. "Amorsolo's dominance of the local art scene had become almost total. He was something of a celebrity. He appeared in full-page advertisements…Poems were written in his honor. [He] was ubiquitous judge of [the Manila] Carnival beauty queen contests. His previous employment with the press had, of course, given him many friends there. When he first received public notice by winning a carnival poster design in 1913, the Daily Bulletin had referred to him as "Omorsolo," while the Manila Times identified him as "Amarsolo," but by 1928, his name was a national byword." (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Tabacco Vendor
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Tabacco Vendor

              Est: ₱2,000,000 - ₱2,600,000

              PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Tabacco Vendor signed and dated 1938 (lower right) oil on canvas 7" x 9" (18 cm x 23 cm) PROVENANCE: Private collection, Manila The 1930s for Fernando Amorsolo is among the most prosperous in his career. His Golden Period spans over this decade, having been established as a household name whose works have been enjoying the fame he was rightfully awarded. More than his eminent name, Amorsolo’s works boast great technical aptitude and the idyllic Philippine countryside – both of which are evident in his 1938 work. The beautiful Filipino dalaga – a favored muse of the esteemed artist – features heavily in this work. Cheeky and playful, the young girl looks over her shoulder and smiles at the viewer, the setting sun’s rays washing over her. Amorsolo’s grasp on the vibrant Philippine sun captivated the Philippine aesthetes of the time – gone were the dreary grayish fields when Amorsolo came into the scene. Now, warmth floods the canvas as women, children, and men frolic in the fields in his canvases, a nostalgic call to the past. Even when the Philippines faced rapid modernization, Amorsolo remained faithful to his pastoral vision. He continued to portray his lavanderas, his farmers, and as this work says, his dalagas. His women are infused with the strength and dignity he finds within the women he has in his life, all the while retaining their beauty and wonder. His impressive oeuvre cemented Amorsolo’s position in history, his shadow casting far and wide as he fervently and steadfastly devoted himself to the Philippine countryside. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Smiling Woman with Carabao
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Smiling Woman with Carabao

              Est: ₱2,200,000 - ₱2,860,000

              PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Smiling Woman with Carabao signed and dated 1936 (lower right) oil on canvas board 7" x 9" (18 cm x 23 cm) PROVENANCE: Private collection, Manila Alfredo Roces notes in his landmark 1975 monograph Amorsolo: “[Amorsolo’s] color studies are among his most appealing works because they contain the spontaneity of the moment…The brushstrokes are vigorous…the colors pure, the composition unmarred by details.” The statement bears weight with this charming 1936 color study, which Amorsolo made during his “Golden Period.” The work depicts the Amorsolo muse, the dalaga, rendered all smiles in the middle of the day’s toiling. The carabao emphasizes the old Filipino adage “stronger than a water buffalo,” aligning with the Amorsolo theme of the pastoral idyll. As with Roces’ sentiments on Amorsolo’s color studies, the work at hand possesses the immediacy of the maestro’s first impressions on a subject, evidenced by a quick and loose rendering of details that points out to first-hand and on-the-spot encounters between the artist’s mind and his medium. Therefore, Amorsolo’s color studies are glimpses of the gravitas of the maestro’s expeditious and dynamic dexterity. (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Portrait of a Lady
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Portrait of a Lady

              Est: ₱300,000 - ₱390,000

              PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Portrait of a Lady signed and dated 1929 (lower right) oil on wood 8" x 6" (20 cm x 15 cm) LITERATURE Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 156. By the time the 1920s reared its head, Fernando Amorsolo had been steadily building the acclaim he would enjoy for the rest of (and even past) his life. A first-batch graduate of the University of the Philippines School of Fine Arts in 1914, he was immediately hired as an instructor in Elementary Drawing in the same year, a testament to Amorsolo’s sheer technical skills. In this 1929 Portrait of a Lady, Amorsolo’s virtuoso and finesse is at clear display. Already a master artist, his dexterity extends past his excellent technicality and bleeds into the emotions poured into the portrait. Painted with sweeping brushstrokes, the portrait appears less "complete" than a normal Amorsolo portrait; it is devoid of his usual classical realism but it puts into perspective Amorsolo in relation to his clients. His clients, who visit the artist in his studio for a portrait, became close friends with the artist who imbued their image not just with their physical appearance but with their personality. Amorsolo’s daughter Sylvia Amorsolo Lazo wrote in the introduction of the first volume of Amorsolo: Love and Passion: “I have always felt that his portraits really came to life whenever I met with the people whose portraits appear in this book.” The woman in the portrait is not identified, only singled out by the blond hair and blue eyes amid Amorsolo’s brown-eyed morenas. The Amorsolo legacy extends past his pastoral depictions of the Philippine country – his portraits, intimate and private, reflect the Grand Old Man of Philippine Art’s sensitivity to the personal. Imbuing each portrait with the muse’s essence, Amorsolo embarks on immortalizing one's memory – an intense yearning that many grapples throughout history. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Nude
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Nude

              Est: ₱380,000 - ₱494,000

              PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Nude signed and dated 1920 (lower right) charcoal on paper 14 1/2" x 9 1/2" (37 cm x 24 cm) Fernando Amorsolo's mastery of the human figure needs no introduction. Even during his formal education at the University of the Philippines, he has already shown a profound understanding of anatomy and physiology, having been awarded tokens for the highest excellence in anatomy. Amorsolo exemplifies this knowledge in this 1920 sketch. Two years after he was promoted to painting instructor at UP (he was previously the instructor for Elementary Drawing in 1914, hired just as he graduated in the same year), his talent for rendering the body is highly evident. He wields light and shadows expertly, accentuating the supple skin and subtle curves on the body through simple and effective shadings. The result is a soft rendering of the human body, a powerful testament to Amorsolo's dexterity and proof of his oeuvre’s incredible longevity. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Nude
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Nude

              Est: ₱400,000 - ₱520,000

              PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Nude signed and dated 1912 (bottom) charcoal on paper 14" x 9 1/2" (36 cm x 24 cm)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Niña con Lazo Azul
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Niña con Lazo Azul

              Est: ₱240,000 - ₱312,000

              PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Niña con Lazo Azul signed and dated 1919 (lower right) watercolor on paper 10 1/2" x 7 1/2" (27 cm x 19 cm) LITERATURE Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 154. Duldulao, Manuel D. The Philippine Art Scene. Manila: Maber Books, Inc., 1977. Full color photograph on page 243; Catalogued in the caption on page 244. A Rarity from a Twenty Year-Old Fernando Amorsolo: One of the Earliest Documented Works of the First National Artist One of Fernando Amorsolo's earliest documented works, the maestro made this work at only 20 years of age. Based on the year of this work, Amorsolo created this nude composition during his third or fourth year of studies at the University of the Philippines School of Fine Arts, where he had been obtaining his degree in painting. He first enrolled on June 18, 1909, and became among the first batch of students of the then-newly opened school along the famed Calle San Sebastian (R. Hidalgo St.). A course outline published by the University of the Philippines in its annual bulletin during the 1910s details that fine arts students in their third year are required to take up the following courses: anatomy and anthropology in their artistic aspects, drawing from antique statuary, and elementary decorative painting. On the other hand, students in their fourth year must study advanced landscape, advanced decorative painting and original designing, theory and history of art and a study of ancient apparel, and drawing from life, in which sketching live nude models are included. Whether Amorsolo painted this nude portrait during his third year or fourth year of higher studies, this nude sketch is veritable proof that even in his earlier years of training, Amorsolo possessed a mastery of the human anatomy and a profound understanding of rendering the subtle nuances that compose the physicality and delicate femininity of the subject. Indeed, during his first year at the university, Amorsolo had already displayed his creative brilliance in human anatomy. He was awarded medals as tokens for the highest excellence in anatomy and drawing from life in oils and charcoal for the academic year 1909 to 1910. Amorsolo's virtuoso was honed at the UP by seasoned and influential names in Philippine art: Miguel Zaragoza (who taught anatomy and elementary drawing and whom Amorsolo acknowledged as the one who influenced his knack for color), Fabian de la Rosa (elementary drawing and decorative painting), Joaquin Ma. Herrer (drawing from life in oil and advanced landscapes), Teodoro Buenaventura, Vicente Rivera y Mir (both taught elementary drawing and drawing from the antique), and Rafael Enriquez (drawing from life in oil). Even before Amorsolo's college days, his creative flair had already been sharpened by his uncle De la Rosa (whom he apprenticed when he was 13) and his succeeding studies at the Liceo de Manila, where he won first prizes in drawing and painting. Amorsolo's apprenticeship under de la Rosa bore fruitful results for the former's flowering flair for the human anatomy. In fact, in a February 1, 1969 interview with Nick Joaquin and published in the article "Homage to the Maestro" in the Philippines Free Press, Amorsolo praised the undisputed master of academic realism for being "good at the figure." (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Smoke over the Ocampo Pagoda Mansion
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Smoke over the Ocampo Pagoda Mansion

              Est: ₱1,800,000 - ₱2,340,000

              PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Smoke over the Ocampo Pagoda Mansion signed, dated 1944 and inscribed "Manila Sept 22 1944, 9:30 am" (lower right) oil on wood 10" x 14 1/2" (25 cm x 37 cm) Fernando Amorsolo: Chronicler of the War The Japanese occupation left the quinquagenarian (a person in their 50s) Fernando Amorsolo scarred and horror-stricken, overwhelmed with the trauma of ruthless destruction and carnage. "Amorsolo was a diabetic, and the war years made medication extremely difficult," writes Roces in his monograph Amorsolo. Roces tells of a gripping story of businessman-cum-US intelligence named Chick Parsons, who "recounted that right after the Battle of Manila, he traveled about on motor scooter bringing drugs for the sick. Among those in need of insulin was painter Amorsolo, whom Parsons found lying in bed in a dim corner of his studio." "Don Luis Araneta," also writes Roces, "recounted how Amorsolo would come to his office with a small landscape and ask, somewhat hesitantly, if he could possibly get 30 pesos for the work." In a September 2022 ANCX article, "The other side of Amorsolo: How the master of light captured Manila's dark period," Sylvia Amorsolo-Lazo recalls that her father and the other boys in the family lived in a house along Calle Azcarraga (Recto Avenue) while the girls transferred to another home in Raon belonging to Mr. Kraut. Deciding to stay in their Morayta house was almost a death sentence for Amorsolo, for the Japanese turned the Far Eastern University into a garrison just a few blocks away from where Amorsolo lived. The Morayta house became a silent witness to the aging Amorsolo's anxieties and enduring creative catharsis to continuously cleanse himself of the traumas of war. "My father would paint every day," Mrs. Sylvia reminisces. "He hated being idle, but during the War, he believed that it was important and that he needed to record what was happening around him." "My father had a collection of newspapers of every single day of the War," Mrs. Sylvia adds. "He used his works to depict the war crimes and the refugee crisis… It reminds me of when he told us he had to go to Bulacan to fetch a cavan of rice. Manila was starving. There was little food to be had. It was a terrifying experience, and the Japanese kempeitai or military police stopped them and even took a portion of the rice." “U.S. planes bombed Manila this morning and afternoon. They came from the northeast like a hundred daggers stabbing through a cloudy sky…They had an ominous roar that rose in an everdeepening crescendo…. By night time, there were a dozen fires all around Manila… While I was just about to sleep, there was a very strong explosion that almost threw me out of bed. Vic says it may have been a time bomb. Then the phone rang. “At last, it's fixed!” says Vic. Bustamante was on the line. He reported that several people were killed in Quiapo by AA shrapnel….” (September 21, 1944) “U.S. planes flew very low over the heart of Manila. Two planes circled below the dome of Binondo Church. People waved handkerchiefs at them and the aviators coolly waved back. Japanese sentries looked on sullenly….” (September 22, 1944) —DIARY ENTRIES OF FELIPE BUENCAMINO III, JOURNALIST AND WWII FILIPINO VETERAN. PUBLISHED IN “MEMOIRS AND DIARIES OF FELIPE BUENCAMINO III (1941 – 1944)” The work at hand would be one of those works Amorsolo conceived and produced en plein air. (Amorsolo's color studies and plein air works, notes Roces, "were mostly painted on wood or lawanit board panels, usually 9 ¼" x 13" in size…He worked directly with oil and brush.”) Painted at the height of the war, the work depicts the morning after the first American air raid and bombing of Manila on 21 September 1944 against the Japanese. Amorsolo painted this on the rooftop of his Morayta house, where he had a harrowing panorama of the bloodbath and destruction of war. Quiapo's iconic landmark, the Ocampo Pagoda Mansion—the home of lawyer, real estate tycoon, and art collector Jose Mariano Ocampo, is dwarfed by an ominous smoke emanating from the historic district's scorched environs. The swirl of heavy impastos, the quick and short strokes communicated through the sheer intensity of somber colors, and the deliberate blurring of minute details all point out to Amorsolo's inherent sense of agitation at the moment as he witnessed the horrors of war unfold before him and immediately translate it to graphic anecdotes on canvas. Amorsolo painted this the morning (he annotates in the painting's lower right the words "Manila Sept 22 1944 9:30 am) after the turbulence of September 21. The billowing smoke presages the impending brutality that would be inflicted upon the people of Manila by American indiscriminate shelling and bombing and the massacre by the Japanese forces. A companion piece to this work was formerly in the Don Luis Araneta collection. Titled "Explosion," it depicts the fateful night during the bombing of Manila by American planes on September 21. Like the work at hand, it was annotated by Amorsolo with the words "Manila, 5:20 pm September 21, 1944." "Amorsolo painted his pictures of the war with no interest in pleasing his customers. He did many oils right on the spot as the emotion moved him. He must have reacted to the need to record the chaos around him," Roces succinctly notes. (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Seascape
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Seascape

              Est: ₱2,400,000 - ₱3,120,000

              Seascape signed and dated 1944 (lower right) oil on wood 20 1/2" x 18" (52 cm x 46 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE: Private collection, Manila Amorsolo’s Eternal Sunshine Capturing Beauty Amidst the Madness of War Beginning in 1944, Fernando Amorsolo began working on a series of oil paintings depicting the destruction of Manila, then touted as “The Pearl of the Orient.” This set of works—which includes the 1944 oil on wood panel painting “Explosion” (from the Luis Araneta collection) and the 1945 oil on canvas works “Burning of Manila” (from the Antonio Delgado collection) and an “Untitled” piece (from the Dr. Salvador de Leon collection) depicting a sweeping yet harrowing view of the destruction of the great city—possess a spur-of-the-moment quality, an immediate creative catharsis from witnessing the carnage of a beloved urban landscape. “The Japanese occupation provided a fresh opportunity for a different development,” writes the artist-critic Alfredo Roces in his monograph ‘Amorsolo.’ “Amorsolo painted his pictures of the war with no interest in pleasing his customers. He did many oils right on the spot as the emotion moved him.” Roces concludes his statement by writing that Amorsolo “must have reacted to the need to record the chaos around him.” However, there is another interesting anecdote about Amorsolo’s lived experiences and his overall career trajectory during the war. Even at the height of the Japanese occupation, Amorsolo remained resolute in painting the majestic vistas of the Philippine countryside. This charming wartime piece epitomizes this passionate pursuit. Amorsolo painted this work inspired by the more idyllic shores of the Manila Bay on one of its scenic portions stretching from old Baclaran to Cavite, where Mt. Mariveles—Bataan’s highest point—towers prominently, seemingly casting its silhouette as if serving as both a guide and admonition to locals and pilgrims alike. Fisherfolks are seen ready to embark on their livelihood, a subtle melancholic reminder of a people striving to survive in the face of holocaust destruction. The composition is bathed in the warm glory of the sunset’s final outburst of light. Amorsolo’s loose yet pulsating and vigorous brushstrokes and his intentional softening of details are clearly evident (notice the heavy impastos, especially on the skies and waters), which shows his dynamism as he becomes enraptured by his daydreams of a cool sea breeze while the solemn ephemerality of dusk starts to creep in. The work at hand shows Amorsolo at the height of his impressionist power, scarred yet still adamant on the inherent power of the brush and paint as soothing instruments amid the ravage of war. Like the fisherfolks embarking on another day of life-sustaining pursuits, so is Amorsolo and the life-preserving vocation that is his art. (Adrian Maranan)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Old Man
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Old Man

              Est: ₱2,400,000 - ₱3,120,000

              Old Man signed and dated 1928 (lower right) oil on canvas 12 1/4" x 15 1/2" (31 cm x 39 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE: Private collection, Edward J. Nell The Filipino Everyman Juan de la Cruz in the Eyes of Amorsolo By the end of the 1920s, Fernando Amorsolo was perhaps one of the most famous (if not the most famous) Filipino artists of his time. Swiftly rising to fame as the 1910s reached their advent, his works have been quintessentially Filipino, touting his beloved lavanderas, rice farmers, and his ever-famous dalaga on his sunlit canvases. In the 1920s, a decade brimming with nostalgia as the country faced rapid social, political, and economic changes, Amorsolo’s unabashed and unbridled longing for the past resonated with the Filipinos even today. Amorsolo was an artist "on the crest of national nostalgia for the Filipino pastoral lifestyle” as critic Alfredo Roces writes, and his 1928 Old Man overflows with just that. Amidst the brisk modernization that the Americans brought with them as they set their colonial roots in the country, Old Man chose to revert its attention to the common masses. In particular, it zooms in on the elderly man on the field, a close-up of his face as he rests in the shade with a salakot hat on his head. This wide-brimmed native hat had been synonymous with farmers as they often used it as adequate protection under the sweltering Philippine sun. Amorsolo’s Old Man brings to the forefront the common Filipino and the hardships they face in the fields. The stifling heat of the afternoons meant they had to get up even before the sun broke the horizon in the east; the constant barrage of storms meant a moment’s delay could spell bankruptcy for the season. Indeed, as one childhood rhyme sings: “Magtanim ay hindi biro.” And yet despite these tribulations, the work itself retains a tinge of optimism. “I do not intend to bring out any of those thoughts,” Amorsolo said in a 1967 interview when asked about the rapidly deteriorating state of the countryside. “I do not want to paint anything that would bring out the ugly and the painful.” Herein lies the beauty of Amorsolo’s work. Through this piece, which was situated right in Amorsolo’s Golden Period of the 1920s to the 1940s, the artist portrays the Filipino everyman washed with unrestrained nostalgia despite the adversities. His romanticism is at its peak and with it comes his optimism. Amorsolo does not shy away from the horrors of the world but his conscious decision to portray the brighter things in life is grounded not in naivete but in hope. He continued to portray a peaceful pastoral society with the loyalty of a besotted man and in his eyes, as proven by the lot at hand, the Filipino everyman is rooted in grit, perseverance, and resilience, characteristics Amorsolo holds in the highest esteem. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Under The Mango Tree
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Under The Mango Tree

              Est: ₱4,800,000 - ₱6,240,000

              Under The Mango Tree signed and dated 1957 (lower right) oil on canvas 22" x 30" (56 cm x 76 cm) PROVENANCE Private collection, USA An Amorsolo Feast In Praise of the Filipino Family In 1952, following his 14-year stint as the director of the UP School of Fine Arts, Fernando Amorsolo resigned from the post to dedicate his full time to painting. He succeeded his uncle and famed painter Fabian de la Rosa who had mentored the artist and his brother Pablo (himself an acclaimed painter in his own right) at the turn of the century. Through him, the then-young artist enjoyed one of the best art education possible with the accomplished genre painter. The influence of de la Rosa is evident in Amorsolo’s 1957 Under the Mango Tree. While De la Rosa’s iconic “Planting Rice” work (done in 1904, one year before the Amorsolos moved in with their uncle) basked in the muted, dusky atmosphere of the late afternoon, Amorsolo’s Under the Mango Tree bathed in the famed Amorsolo sunlight. Gone is the haze of the Philippine landscape; in its place is a lusher, more vibrant countryside, a reprieve from the rapidly modernizing 1950s Philippines. Amorsolo returns again and again to the fields, depicting the scene and its workers with the fervor of a man in love. Growing up in Daet, Camarines Norte whose primary livelihood is rice production, Amorsolo’s romanticism and nostalgia bleed into his works. “The rural scenes that Papa painted were based from the actual day-to-day chores of the simple and poor people that he observed as a young lad until his growing years,” writes his daughter Sylvia Amorsolo Lazo in Amorsolo: Love and Passion. Under the Mango Tree depicts the simple provincial life. A group of farmers tills the land in the background, blurred and almost indistinguishable but what is more pertinent are the four figures in the foreground. A woman holds a child to her lap, watching another girl – a teenager by the looks of her – cook on a pot and a makeshift stove; an old man, perched on a deconstructed cart, watches over. The age-old nursery rhyme sung by children ("Magtanim ay 'di biro / Maghapong nakayuko / 'Di man lang makaupo / 'Di man lang makatayo") seems not to apply here – here, the farmers toil under crystal clear skies and bright but not blinding light. The Amorsolo sunlight – which has captivated the Philippine culturati for years to come – shines in all its brilliance, washing the common folk with an intense nostalgia, a staple of an Amorsolo landscape. The rice cycle pops up frequently in Amorsolo’s oeuvre. Farmers from sunrise to sundown occupy the forefront of his canvas as they work through the back-breaking labor of the planting season. Despite this, his pastoral landscapes show no trace of darkness – they are at their core bright and lively, echoing what Mrs. Sylvia recalled her father saying: “There is always something beautiful in all things around us and nature. So why not recreate God’s creation through [my] canvas?” Even decades later, Amorsolo’s landscapes resonate even further; as modernization rapidly hurtles on, stories of the carefree provincial afternoons draw in wistful wishes and longing for the past. Under the Mango Tree showcases part of Amorsolo’s personal and national identity – it is an idyllic return to the past, a painter preserving the beauty of days yore. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Sabungero
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Sabungero

              Est: ₱3,200,000 - ₱4,160,000

              Sabungero signed and dated 1951 (lower left) oil on canvas 18 1/4" x 22 1/4" (46 cm x 57 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE Private collection, Edward J. Nell, USA One can argue that the illustrious life and career of Fernando Amorsolo is highly intertwined with that of the pre-war Philippines. Meek and mild-mannered, it is hard to believe that Amorsolo led an artistic movement that became the standard that many generations of artists hold themselves to, either to uphold or dismantle. By the 1950s, the Amorsolo School had weathered the constant pushback of Philippine modernism. The classical realism of Amorsolo has been tempered by the horrors of the war – the idyllic pasture of the Philippine countryside no longer becomes appealing to many of the newer artists who have witnessed the war’s atrocities. It is dated, they said, given the current climate. But Amorsolo persevered. With the exception of his darker World War II-era paintings, he went straight back to capturing the pastoral Philippines in his famed Amorsolo light. His usual muses found themselves back onto his canvases – his dalagas bathed in the golden yellow sunlight, his vendors back to selling their wares. An intense sense of nostalgia penetrates his post-war works, made heavier by the knowledge that the Philippines underwent such atrocities in the war, a fact Amorsolo became intimately familiar with as he saw firsthand the Battle of Manila. His 1951 Sabungero shows no sign of the war period angst that enveloped Amorsolo’s 1940s pieces. Here, he focused on a specific rural aspect of the Philippines: cockfighting. Cockfights are major social functions in the barrios of the Philippines, going far back to pre-colonial Philippines when Antonio Pigafetta recorded it during Magellan’s 1521 expedition. The first wave of Filipinos arriving in Hawaii brought cockfighting into the foreign land, so beloved was this sport for the Filipinos. Amorsolo’s Sabungero depicts the titular sabungero (or the cockfight bettors) holding his best rooster. He seems to be inspecting the animal, checking for injuries or defects that might hinder him during the upcoming fight. Cockfighting is emblematic of the quintessential Filipino traits. It is a social event, a gathering recognized and awaited by most. When the roosters meet, it becomes a battle not just between the animals themselves but the bettors who had gambled their hard-earned money on their favored competitor. The Filipino pride and ego are on the line fuelled even further by the adrenaline of the brutal fight. However, in his Sabungero, Amorsolo depicts not the deadly fight but the tranquil start of it. Gone are the frantic movements of the roosters that many artists choose to focus on; instead, Amorsolo portrays the quiet and loving relationship of the farmer and his fowl. For Filipino sabungeros, their roosters are much more than fighting machines – they are part of the family, as beloved as their children. These animals are well taken care of and Amorsola perfectly encapsulates that on his canvas. There is no denying Amorsolo’s longevity in Philippine art history. His works evoke the ordinary and daily life of the rural Philippines, suffused in his trademark light. His impact was cemented even further when he was posthumously conferred the National Artist Award in 1972, the distinction’s first awardee. (Hannah Valiente)

              Leon Gallery
            • Fernando Amorsolo (1892 - 1972) - Fruit Vendors
              Jun. 08, 2024

              Fernando Amorsolo (1892 - 1972) - Fruit Vendors

              Est: ₱6,000,000 - ₱7,800,000

              Fruit Vendors signed and dated 1951 (lower right) oil on canvas 24" x 34" (61 cm x 86 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE Acquired directly from the artist by Edward J. Nell In the 1950s, Fernando Amorsolo faced another momentous period in his illustrious career. Already an established artist by then (the “Amorsolo school” of classical realism is a household name, a style of painting that up-and- coming artists want to either uphold or raze), Amorsolo stepped down as the director of the University of the Philippines School of Fine Arts, choosing to focus his full time to painting. This marked almost 40 years he had rendered to the university as a professor. By this time, the sexagenarian (meaning 60 years old) Amorsolo had also undergone a great ordeal during the war. The 1940s saw the Battle of Manila, an event Amorsolo was unfortunately familiar with as he stayed at their Morayta home which was located right across from a Japanese garrison. This stay at Morayta almost became a death sentence for him. Amorsolo was diabetic and the ongoing battle made medications extremely difficult to procure. When the war concluded in 1945 and the Americans made rounds at the war- worn city in search of the sick and the injured, Amorsolo was found lying in bed in a dim corner of his studio. The result is a 1940s frenzy of Amorsolo’s recollection of the war, his way of keeping records of the atrocities he was facing. Fruit Vendors, done in 1951, is done during Amorsolo’s return to his idyllic subjects following his war period paintings. His famed Amorsolo sunlight shines on the lone dalaga in the scene, washing the other characters with the backlight. Following the war, Amorsolo’s pastoral paintings take on vastly different meanings; they now become images of the past untouched by the atrocities of the war, a paradisial return to nature. They now symbolize the Philippines in its simplicity and beauty. Amorsolo’s romantic idealism is evident in Fruit Vendors. It resonated then and continues to do so until today; the fast-paced modern lifestyle has many yearning for simpler days away from the hustle and bustle of the city. Amorsolo’s Fruit Vendors provides the perfect reprieve from the busy life – it reminds us to slow down and appreciate the little things. (Hannah Valiente)

              Leon Gallery
            • Fernando C. Amorsolo (Philippines, 1892-1972)
              Jun. 05, 2024

              Fernando C. Amorsolo (Philippines, 1892-1972)

              Est: $80,000 - $120,000

              The Harvest 1955 Oil on board Signed and dated l.r. 19" x 25.5" (sight) 26.75" x 33.5" (framed) Provenance The Collection of Hazel Goodier (1904-1998) Acquired in the Philippines, 1950s Descended in the family to the present day The following is a background of Hazel Goodier and her time spent in the Philippines, based upon family archives: In the late 1950s Hazel Goodier returned to the United States. She left the Philippines and the life she had known since 1934. She left behind a husband who had died, a teaching position at the American School, and the sight of Santo Tomas University where she and her family were held as prisoners of war for three years. Paintings by Fernando Amorsolo, “Grand Old Man of Philippine Art,” and Oscar Navarro, whose works belong to the school of Amorsolo, reflect what she may have come to cherish about the Philippines while living there. From about 1895, generations of the Goodier family worked in Colorado, New Mexico and Peru, mining gold, manganese, and other minerals. George Percy Goodier Jr., married Hazel Golding-Dwyer in 1927 and she became the stepmother of his young son, George Newton Goodier. The family of three moved to the Philippines in 1934 to pursue mining opportunities there, joining George Percy’s brother and his family. Both families maintained residences in Manila although the brothers, both mining engineers, were often away on various islands including Luzon, Mindoro and Mindanao. George Newton recounted his delight in joining his father at these (then) remote locations during school vacations when he was often the only non-Filipino child around. Rural scenes like those in the paintings would have been familiar to the family. When the Japanese military entered the Philippines during World War II, every member of the family was interned in the civilian concentration camp at Santo Tomas University, beginning in early January 1942. The over 3000 internees in the camp petitioned their captors for permission to form committees to maintain some semblance of normal life, including organizing a school for the children. Hazel, with her teaching degree, served as one of the teachers. After 3 years of great hardship and deprivation, the internees were liberated on February 3, 1945. Although most of the family returned to the United States soon after the war ended, George Percy and Hazel remained in the Philippines as he tried to recoup what was lost of his business. He died in October 1953, having never regained his health after interment. Hazel and their daughter Beth (1937-1985), lived in Pasay City near Manila, where Hazel taught at The American School from January 1947 to late March 1956. Hazel returned with her collection to California by summer of 1957, living there for the next forty years. In 1997 she moved to live with her step-son George Newton and his wife Mildred. After Hazel’s death in 1998, the Amorsolo landscape was displayed in George and Mildred’s home, where George enjoyed it until his death a year later. Mildred Goodier moved eventually to live with her daughter and son-in-law where the Amorsolo and Navarro paintings have been displayed and enjoyed. 

              Caza Sikes
            • Fernando C. Amorsolo (Phillipines, 1892-1972)
              Jun. 05, 2024

              Fernando C. Amorsolo (Phillipines, 1892-1972)

              Est: $40,000 - $60,000

              The Laundress, or Lavandera 1955 Oil on canvasboard Signed and dated l.r. Inscribed to verso frame "Scene near Antipolo, Phillipines" 17.5" x 13.5" (sight) 20" x 16" (framed) Provenance The Collection of Hazel Goodier (1904-1998) Acquired in the Phillipines, 1950s Descended in the family to the present day The following is a background of Hazel Goodier and her time spent in the Phillipines, based upon family archives: In the late 1950s Hazel Goodier returned to the United States. She left the Philippines and the life she had known since 1934. She left behind a husband who had died, a teaching position at the American School, and the sight of Santo Tomas University where she and her family were held as prisoners of war for three years. Paintings by Fernando Amorsolo, “Grand Old Man of Philippine Art,” and Oscar Navarro, whose works belong to the school of Amorsolo, reflect what she may have come to cherish about the Philippines while living there. From about 1895, generations of the Goodier family worked in Colorado, New Mexico and Peru, mining gold, manganese, and other minerals. George Percy Goodier Jr., married Hazel Golding-Dwyer in 1927 and she became the stepmother of his young son, George Newton Goodier. The family of three moved to the Philippines in 1934 to pursue mining opportunities there, joining George Percy’s brother and his family. Both families maintained residences in Manila although the brothers, both mining engineers, were often away on various islands including Luzon, Mindoro and Mindanao. George Newton recounted his delight in joining his father at these (then) remote locations during school vacations when he was often the only non-Filipino child around. Rural scenes like those in the paintings would have been familiar to the family. When the Japanese military entered the Philippines during World War II, every member of the family was interned in the civilian concentration camp at Santo Tomas University, beginning in early January 1942. The over 3000 internees in the camp petitioned their captors for permission to form committees to maintain some semblance of normal life, including organizing a school for the children. Hazel, with her teaching degree, served as one of the teachers. After 3 years of great hardship and deprivation, the internees were liberated on February 3, 1945. Although most of the family returned to the United States soon after the war ended, George Percy and Hazel remained in the Philippines as he tried to recoup what was lost of his business. He died in October 1953, having never regained his health after interment. Hazel and their daughter Beth (1937-1985), lived in Pasay City near Manila, where Hazel taught at The American School from January 1947 to late March 1956. Hazel returned with her collection to California by summer of 1957, living there for the next forty years. In 1997 she moved to live with her step-son George Newton and his wife Mildred. After Hazel’s death in 1998, the Amorsolo landscape was displayed in George and Mildred’s home, where George enjoyed it until his death a year later. Mildred Goodier moved eventually to live with her daughter and son-in-law where the Amorsolo and Navarro paintings have been displayed and enjoyed.   

              Caza Sikes
            • (4) Fernando Amorsolo (1892-1972) Nude Art Prints
              Apr. 20, 2024

              (4) Fernando Amorsolo (1892-1972) Nude Art Prints

              Est: -

              Featuring Female Nude Studies. All In Matching Frames. Largest Frame Measures Approximately 16” X 12.5”. Art Measures Approximately 8” X 11”. All In Good Condition. 1156 Ka

              EJ'S Auction & Appraisal
            • PHILIPPINE OIL PAINTING BY FERNANDO CUETO AMORSOLO
              Apr. 13, 2024

              PHILIPPINE OIL PAINTING BY FERNANDO CUETO AMORSOLO

              Est: $100 - $150

              Fernando Cueto Amorsolo, Philippine, 1892 to 1972, oil painting on canvas depicting a rural scene in a landscape, 1924. Signed, inscribed, Manila, and dated, lower left. Framed. Fernando Amorsolo is known for Philippino landscape, wartime scenes and portrait painting. Fernando Amorsolo painted and sketched more than ten thousand pieces over his lifetime using natural and backlighting techniques. His most known works are of the dalagang Filipina, landscapes of his Philippino homeland, portraits and WWII war scenes. One of a kind artwork.

              Antique Arena Inc
            • Fernando Cueto Amorsolo (Philippine, 1892-1972) Woman Carrying Water Landscape, signed and dated 1935 lower right, oil on canvas, 21 1/4" x 18", Framed-24 1/2" x 21 1/4".
              Mar. 23, 2024

              Fernando Cueto Amorsolo (Philippine, 1892-1972) Woman Carrying Water Landscape, signed and dated 1935 lower right, oil on canvas, 21 1/4" x 18", Framed-24 1/2" x 21 1/4".

              Est: $4,000 - $6,000

              Fernando Cueto Amorsolo (Philippine, 1892-1972) Woman Carrying Water Landscape, signed and dated 1935 lower right, oil on canvas, 21 1/4" x 18", Framed-24 1/2" x 21 1/4".

              Auction Gallery of the Palm Beaches
            • Signed Fernando Cueto Amorsolo (Philippines, 1892-1972) Framed Portrait Painting On Board, 1956
              Mar. 16, 2024

              Signed Fernando Cueto Amorsolo (Philippines, 1892-1972) Framed Portrait Painting On Board, 1956

              Est: $700 - $1,000

              Signed Fernando Cueto Amorsolo (Philippines, 1892-1972) Framed Portrait Painting On Board, 1956. Measures approx. 23" X 16 1/4", Sight measures approx. 21 1/2" X 14 1/2" || Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Because artwork, antiques and collectibles are known to be copied from pre-existing examples, the dating of such objects is often difficult to ascertain and opinions vary from expert to expert. Due to this, RB Fine Arts CFL Inc strongly suggests all potential bidders or a representative to meticulously inspect any and all items prior to bidding. Any reference to a specific time period and/or culture are only the opinion of RB Fine Arts CFL Inc and are not a guarantee of authenticity. If the bidder or a representative cannot inspect an item in person prior to the auction, then RB Fine Arts CFL Inc strongly suggests that you do not place a bid on the lot. RB Fine Arts CFL INC. shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Please email for a condition report and photos, if desired. Emails should be received at least 48 hours in advance of the date of the auction. Please make sure you have read the Terms and Conditions* before you bid. ALL ITEMS ARE SOLD AS IS! Any registration and/or bid placed by you does guarantee RBFineArts CFL Inc. you have read and will abide by the following Terms and Conditions of the sale. We do expect all bidders and buyers to abide by the contracts they agree to when bidding and finalize ALL sales regardless of any reassessment. SHIPPING POLICY: RBFINEARTS SHIPPING IS OUR DEFAULT PACKING AND SHIPPING PARTNER. All lots will be released to them once payment has been received unless we are notified by email. RBFineArts Shipping 375 E Burleigh Blvd., Tavares, FL 32778 shipping@rbfinearts.net or 877-660-3243. Alexandria is the manager of RBFineArts Shipping Inc., and you may contact her with any quotes or questions. IF YOU PREFER TO USE AN ALTERNATIVE SHIPPER YOU MUST EMAIL INFO@RBFINEARTS.NET TO ADVISE OUR OFFICES OF THE ALTERNATIVE COMPANY YOU WOULD PREFER TO PACK AND SHIP YOUR ITEM/S. No property will be released for shipping or pick-up until payment is made in full. Please note that a shipping charge is not included in the sale price. Any costs associated with the shipping, packing, and transport of an item are the responsibility of the buyer. RBFineArts CFL Inc. is not responsible for packing, shipping, or transport of any items from buyers invoice. Local Pick-up: Items for pick-up must be collected within fourteen (14) days of payment. Items remaining at RBFineArts CFL Inc offices at the expiration of fourteen (14) days past payment will be subject to storage fees of $10 per day per item. All storage fees must be paid before item/s will be released to the buyer or a representative. Any items remaining forty-five (45) calendar days following the date when the buyer completed payment on an invoice will be considered Abandoned Property of items on that invoice and will be subject to resale or disposal with no refund. Transportation for shipping of buyer's items: As a default upon payment, RBFineArts Shipping Inc. will pick up and transport your items from the offices of RBFineArts CFL Inc. ALL OTHER transport to any other third-party shipper there will be a 25.00 transport fee, there will be no exceptions for this condition. Your item/s will be transported one time per week only. Any issues with shipping or insurance are between the shipping company and the buyer. If you are not satisfied with our shipping options, please make other arrangements to ship your item and contact us about those shipping details. RBFineArts CFL Inc. is not responsible for any denied claims or damages from the shipping offices the buyer chooses. RBFineArts CFL Inc. does not make any warranty, guarantee, or promise as to the performance of any shipper. RBFineArts CFL Inc. (online auction) and RBFineArts Shipping Inc. (packing and shipping) are two separate companies and should not be assumed to be the same business. If you have any questions, please do not hesitate to contact us at info@rbfinearts.net or 352-508-5738. ***We at RBFineArts can only attribute this work based upon the quality and the presence of a signature, we are not an authentication service. We can only declare the work as attributed to based upon the factors mentioned.*** (001)

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