Charlie Co Sold at Auction Prices

b. 1960 -

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          • Charlie Co (b. 1960) - Changing Time
            Nov. 30, 2024

            Charlie Co (b. 1960) - Changing Time

            Est: ₱300,000 - ₱390,000

            Changing Time signed and dated 2009 (lower right) oil on canvas 57 1/2" x 35 1/2" (146 cm x 90 cm) PROVENANCE: Finale Art File Armed with a distinct art style that belies the disturbing and the somber, the works of contemporary artist Charlie Co aim to tell a narrative that would stay with its viewers for long. “I’m a storyteller, just like many artists,” he says as written in the Department of Tourism’s digital magazine 7641 Islands. And indeed, his 2009 Changing Time presents an interesting narrative. With the viewer's eyes drawn immediately to the man at the center, shirtless with his heart noticeably ripped out, a visceral reaction is to be expected. The man’s arms are being held back by two men dressed in formal suits. His face is painted white like a clown’s but a singular black tear slips from his eye. At his feet lies a crow, pecking his feet bloody. Surrounding him are several perplexing elements – a stash of paintings at his feet, a crowd of mourners behind him, and gas lamps with figures trapped within them, among others. Combined with the vibrantly rich color palette used, Changing Time feels vaguely dangerous, warning of magic that should not be tampered with. The visual language of Co embodies the zeitgeist of his time – visceral and vibrant, his surrealistic themes have captivated his patrons at large, garnering horror and awe at their terrific subject matters. (Hannah Valiente)

            Leon Gallery
          • Charlie Co (b. 1960) - Untitled
            Sep. 14, 2024

            Charlie Co (b. 1960) - Untitled

            Est: ₱200,000 - ₱260,000

            Untitled signed and dated 2002 (lower left) oil on canvas 47 1/2” x 47” (121 cm x 119 cm) PROVENANCE: Acquired directly from the artist WRITE UP The works of Charlie Co are a visual treat of symbolism. Swimming in humor and wit, Co toes sarcasm and pointed criticism in his vibrant surrealist pieces, a staple of the political and socially aware art he had been known for in the early years of his career. In this 2002 work, Co’s Surrealist art style takes center stage as multiple elements meld together to create an interestingly cohesive storyline. This painting focuses on the pig-human hybrid decked in a jester costume. Standing on his two legs, the pig-human has a feathered cloak in a childish pattern wrapped around his shoulders and a tin crown lying on his head. His hands are clasped as though in prayer. The symbolism is striking and obvious in its simplicity. Other than the pig-human, several other elements further emphasize the absurdity and surrealism of the piece. An angel clad in full armor and a flaming sword wrestles with a dragon-serpent whose tail wraps around a miniature planet. The back of a chair is reimagined to be a theater stage, complete with a red curtain and stage props. Personal symbolism comes together in the works of Co. A practicing Catholic and a social artist, these often contradicting themes both clash and blend harmoniously within his body of works. He puts up a mirror against the world’s lust, avarice, and greed and offers no solution – instead, he depicts them as they are, translated through the lens of his wry and witty style. (Hannah Valiente)

            Leon Gallery
          • Charlie Co (b.1960)
            Jul. 27, 2024

            Charlie Co (b.1960)

            Est: ₱30,000 - ₱39,000

            Portrait signed and dated 2012 resin 12" x 10 1/2" x 10" (30 cm x 27 cm x 25 cm) each

            Leon Gallery
          • Charlie Co (b. 1960)
            Jul. 27, 2024

            Charlie Co (b. 1960)

            Est: ₱10,000 - ₱13,000

            Day Dreaming signed and dated 2004 (lower right) pen and ink on paper 9 1/2” x 6 1/2" (24 cm x 17 cm)

            Leon Gallery
          • Charlie Co (b. 1960) - Sacred Heart
            Jun. 08, 2024

            Charlie Co (b. 1960) - Sacred Heart

            Est: ₱220,000 - ₱286,000

            PROPERTY FROM THE COLLECTION OF MARK WILSON & ELSA DIVINAGRACIA Sacred Heart signed and dated 1996 (lower left) oil on canvas 57 1/2” x 47 1/4” (146 cm x 120 cm) EXHIBITED: SM Arts Center Cebu, Into the Third Millenium, Cebu City, 1997 “Living in Cebu in the 1990's, Elsa and I became friends with Charlie and Ann Co. Charlie travelled occasionally to Cebu, and at least once had an exhibition there. I bought this painting from one of those exhibitions, in 1997. Charlie is one of our most important artists, I believe. His iconography, sense of color, and thinking about the world is so uniquely expressed. I especially love his work from the 1980's & 1990's.” —Mark Wilson

            Leon Gallery
          • Charlie Co (b. 1960)
            Apr. 20, 2024

            Charlie Co (b. 1960)

            Est: ₱10,000 - ₱13,000

            Watch Your Back signed and dated 2013 (upper right) oil pastel on paper 15” x 17 1/2” (38 cm x 44 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Apr. 20, 2024

            Charlie Co (b. 1960)

            Est: ₱30,000 - ₱39,000

            The Swordsman signed and dated 2012 (lower left) oil on canvas 36” x 24” (91 cm x 61 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 20, 2024

            Charlie Co (b. 1960)

            Est: ₱240,000 - ₱312,000

            A Wonderful Magical Night at the Circus signed and dated 2011 (lower right and verso) oil on canvas 60" x 60" (152 cm x 152 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 20, 2024

            Charlie Co (b. 1960)

            Est: ₱20,000 - ₱26,000

            Clown signed and dated 2003 (upper left) pastel on paper 25" x 19 1/4" (64 cm x 49 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 20, 2024

            Charlie Co (b. 1960)

            Est: ₱25,000 - ₱32,500

            The Prankster signed and dated 2001 (lower right and verso) oil on canvas 24" x 18" (61 cm x 46 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 20, 2024

            Charlie Co (b. 1960)

            Est: ₱18,000 - ₱23,400

            Kyosko Clown signed and dated 1992 (lower right) mixed media on board 20 1/2" x 19" (52 cm x 48 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Oct. 21, 2023

            Charlie Co (b. 1960)

            Est: ₱20,000 - ₱26,000

            Crucifixion signed and dated 2016 (upper left) pastel on paper 15” x 11” (38 cm x 28 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Oct. 21, 2023

            Charlie Co (b. 1960)

            Est: ₱20,000 - ₱26,000

            Watch Your Back signed and dated 2013 (upper right) oil pastel on paper 15” x 17 1/2” (38 cm x 44 cm)

            Leon Gallery
          • Charlie Co (b. 1960) - Skull
            Sep. 09, 2023

            Charlie Co (b. 1960) - Skull

            Est: ₱450,000 - ₱585,000

            Charlie Co (b. 1960) Skull signed and dated 2003 (upper left) oil on canvas 60" x 60" (152 cm x 152 cm) Accompanied by a certificate issued by Osage Gallery and signed by the artist confirming the authenticity of this lot In this work titled Skull, Charlie Co continues his compelling narratives on the harrowing effects of imperialist war and violence on the ordinary people, the masses themselves. The artist says of this piece: “The horses coming out of the skulls represent conflict, a war between two idealisms. A third skull behind these images is screaming; it is frustrated over the never-ending war.” Through this thought-provoking piece, Co arouses in us the collective spirit of resistance and struggle to put an end to the brutal domination of imperialism. The artist fosters the idea that our future is now dependent on our willingness to be aroused, organized, and mobilized amid fascist attacks borne from imperialist hegemony. We must unite with the oppressed peoples, led by the workers and the peasants, in that radical struggle to upend the triangle of oppression and build a just society that is grounded in genuine agrarian reform and national industrialization. Borrowing from Karl Marx’s famous resonating words, we have nothing to lose but our chains. (Adrian Maranan)

            Leon Gallery
          • Charlie Co (b. 1960) - The War God and the Grave Diggers (Diptych)
            Sep. 09, 2023

            Charlie Co (b. 1960) - The War God and the Grave Diggers (Diptych)

            Est: ₱600,000 - ₱780,000

            Charlie Co (b. 1960) The War God and the Grave Diggers (Diptych) signed and dated 2007 (lower right) oil on canvas 84 1/2" x 84 1/2" (215 cm x 215 cm) Accompanied by a certificate issued by Osage Gallery and signed by the artist confirming the authenticity of this lot The diptych The War God and the Grave Diggers is the largest work by Charlie Co to enter the Philippine art market. When Co created the piece during his artist's residency in Beijing in 2007, China had become one of the world's largest economies and would eventually overtake Japan in 2010 to become the second largest economy. But this supposed advancement was borne from China's regress from its socialist victories and reforms under the leadership of Mao Zedong into that of capitalist orientation and eventual imperialist attitude starting with Deng Xiaoping's regime in the late 1970s that eventually posed a great deal of political and economic instability within the countries under its sphere of influence. Co depicts China's imperialist stance in this intriguing work. "Four gods with Chinese features are dominantly watching from above. Each one of them is holding their own special weapon," Co shares with León Gallery. "The one on the left has one hand clenched and the other has his finger pointed upwards as if saying, "Just you wait, Armageddon will come in its own time," as his eyes look up even if his head faces downward. Another god on the right has a black hood on his head. He is an executioner waiting for the command and unleashing the war dogs. The god behind him has a sword, waiting to strike anytime. "The most powerful of them all is holding a globe, not the normal globe; it is blackened and divided by lines. He is waiting for the perfect time to start the war. The men in the foreground are the gravediggers, holding their shovels, spades, and forks. They are waiting for the command of their leader, the only person among them who is facing the viewer, his eyes closed intently, waiting for the command from above to give them the signal to start digging graves of those who will perish in the war. In the background are smokestacks with human figures coming out of nuclear power plants, the very reason for this conflict. "Looking back now, it could be my own imagination at that time of how powerful China could be in taking over the world and its desire to take back Taiwan," Co concludes. At present, China is driven by the continued growth of its monopolies and foreign direct investments, as exemplified by its “Belt and Road Initiative" and debt-trap diplomacy, pushing poor and developing nations into subjugation by forging unequal loan agreements to supposedly fund infrastructure and other "developments," but, in reality, excessively favors Chinese corporate interests to ensure its imperialist domination in the near future. Take the Philippines as a harrowing example; a continuing narrative of both warning and the people's unceasing struggle to liberate themselves from the oppressive yoke of semicolonialism and semi-feudalism. (Adrian Mar

            Leon Gallery
          • Charlie Co (b. 1960) - The Invasion
            Sep. 09, 2023

            Charlie Co (b. 1960) - The Invasion

            Est: ₱450,000 - ₱585,000

            Charlie Co (b. 1960) The Invasion signed and dated 2006 (lower left) oil on canvas 50" x 80 1/2" (127 cm x 204 cm) Accompanied by a certificate issued by Osage Gallery and signed by the artist confirming the authenticity of this lot Charlie Co's The Invasion forms part of the artist's 2007 exhibition at the Osage Gallery in Hong Kong titled "Possession." Rendered in his surrealistexpressionist-social realist visual language, Co tackled in the show disturbing themes of war and bloodshed. Thus, the exhibition's title condemns the "modern-day demons," i.e., imperialist forces, possessing and further reinforcing an oppressive and exploitative contemporary world order. Through this series of works, Co places his confidence and trust in the greater number of the oppressed masses in hopes that we may "exorcise" this harrowing world through our collective struggle. The Invasion talks about the US invasion of Iraq in 2003. Furthermore, it expounds on the wider picture of the United States and its monopoly capitalists' insatiable lust and unquenchable thirst for the Middle East's oil resources to strengthen its stronghold on the global economy and virtually all aspects of living since oil is of paramount importance to humanity's sustenance and livelihood: industries, machinery, manufacturing, and the like. The US had intervened in revolutions and wars across the Middle East, crushing anti-US and anti-imperialist revolutionaries and leaderships, and has since waged wars and invaded nations to maintain their chokehold and monopoly on this precious compound. Wars also feed profit for the US military-industrial complex. In a correspondence with León Gallery, Co delves deeper into this work and gives his valuable insights. "Being a chronicler of current events through my artwork, this is my interpretation of the situation when the US-led allied coalition attacked Iraq,” the artist says. Set on a stage, a soldier with a US flag patch on his arm leads a war against Iraq. He is atop a carroza, exuding overconfidence that he, along with his allies, will take control over the oil resources of the Arabian state, using the supposed threat of mass destruction by Iraq. A crow on the left screams death, while a skull on the right represents the businessmen taking advantage of this war. Toy soldiers on the right side of the stage floor charge toward the Middle Eastern scimitar swords on the left.” Co concludes: “While doing this, the news was dominated by CNN, seemingly a one-sided information; hence this was how I reacted at that time." (Adrian Maranan)

            Leon Gallery
          • Charlie Co (b. 1960) - Lords of War
            Sep. 09, 2023

            Charlie Co (b. 1960) - Lords of War

            Est: ₱280,000 - ₱364,000

            Charlie Co (b. 1960) Lords of War signed and dated 2006 (lower right) oil on canvas 72" x 48" (183 cm x 122 cm) Charlie Co’s Lords of War is a dark image of destruction and distress amid the unforgiving wrath brought by war and violence, not just any kind of violence, but imperialist violence. Co expounds on this work: “A man in an armored suit stands on a landscape of devastation. His left foot steps on a skull as if he has triumphantly won a war, killing his enemies. The crow, an iconic symbol that has been a recurring image [in my paintings] since the 1990s, symbolizes death or harbingers of death. He holds a burning sword meaning there is always a constant threat. Falling human figures are power seekers falling from their ambitions and greed.” Wars and the strengthening of the military are part and parcel of imperialist nations’ survival. The two world wars resulted from these nations’ struggle and scramble to assert dominion over the world. In particular, the United States, the most powerful imperialist, wage wars, invade countries, and intervene in civil conflicts not just to take control of the local economy but to maintain high profits for its military-industrial complex. In 2022, the US military-industrial complex amassed a profit from arms exports of $205.6 billion, a combined value from private corporations tied to the lucrative industry and sales arranged by the US government. They further achieved this as they took advantage of the RussiaUkraine War, an inter-imperialist war between the US-led NATO forces and Russia. In 2021, according to data provided by the veritable think-tank Stockholm International Peace Research Institute (SPRI), the US accounted for 51% of the total arms sales, a sheer 33% from the runner-up, China. In the Philippines, the US has installed pro-American regimes since the post-war era to ensure the protection of its vested interests in our economy. It is up to the Filipino people to arouse, organize, and mobilize the greater number of the oppressed and relentlessly confront the hegemony of imperialism and its local agents. The same goes for peoples of numerous oppressed nations. (Adrian Maranan)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jul. 29, 2023

            Charlie Co (b. 1960)

            Est: ₱12,000 - ₱15,600

            The Blue Dotted Bow Tie signed and dated 2016 (right) oil pastel on paper 6” x 6” (15 cm x 15 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960)
            Jul. 29, 2023

            Charlie Co (b. 1960)

            Est: ₱30,000 - ₱39,000

            Coffee Juggler signed and dated 2013 (lower left) pastel on paper 16” x 12” (41 cm x 30 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jun. 17, 2023

            Charlie Co (b. 1960)

            Est: ₱600,000 - ₱780,000

            Here They Come Again signed and dated 2012 (upper right) oil on canvas 72" x 72" (183 cm x 183 cm) *This lot is sold to benefit the restoration/renovation projects of the The Ritz Tower PROVENANCE: The Ritz Towers, Makati City Continuing with his surrealist-expressionist paintings imbued with themes of social realism, Charlie Co’s Here They Come Again is a compelling critique of the country’s elections and the overall fragility of Philippine (procedural) democracy. The work depicts three figures rendered in Co’s trademark satirical style. They appear as acrobats dressed in circus clothes, all the while riding a unicycle and blowing trumpets. Microphones suspend from an invisible ceiling, further resounding the blare of their trumpets. Confetti falls from above, signifying a “celebratory atmosphere.” Co painted the work in 2012, a year before the 2013 Philippine midterm elections. The artist says the piece is a visual allegory for politicians campaigning and laying out their deceptive platforms to the people, sham manifestos that they would only use to leverage their self-serving, mercenary interests. The three figures represent the connivance of imperialism, feudalism, and bureaucrat capitalism, the three ills of Philippine society. The Philippines’ electoral system only allows those with the best political machinery to win— and these winning candidates usually come from the big comprador-landlord class, agents of imperialists and monopoly capitalists in protecting their vested economic interests in the country. They are trained to become the bureaucrat capitalists, the lapdogs of imperialism in the government, be it on a national or local government scale. Under this system of procedural democracy, the people are manipulated to believe they are participating in choosing their representatives in the government. US imperialism has been instrumental in determining the election results. It installs its local agents in the government, resulting in puppet regimes with cosmetic reforms and mercenary interests. Especially in the age of the internet and social media, big foreign political The Ritz Tower, Makati firms and strategic communication companies engage in violating our data privacy and launching misleading propaganda in favor of the “imperialist bet,” thus manipulating the people. In this semi-colonial and semi-feudal system, we only have the illusion of choice in our elections: different political parties but the same oppressive classes. A revolutionary and progressive resistance may be the answer to these entrenched ills. (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960) Untitled
            Apr. 22, 2023

            Charlie Co (b. 1960) Untitled

            Est: ₱15,000 - ₱19,500

            Charlie Co (b. 1960) Untitled signed and dated 1. 9. 1990 terracotta a) 7” x 7” x 6” (18 cm x 18 cm x 15 cm)b) 7” x 5 1/2” x 7 1/2”(19 cm x 14 cm x 19 cm)c) 7 1/2” x 9” x 4 1/2”(19 cm x 23 cm x 11 cm)

            Leon Gallery
          • Charlie Co (b. 1960) Untitled (Crucifix)
            Apr. 22, 2023

            Charlie Co (b. 1960) Untitled (Crucifix)

            Est: ₱20,000 - ₱26,000

            Charlie Co (b. 1960) Untitled (Crucifix) signed and dated 2014 (lower right) pastel on paper 15” x 11” (38 cmx 28 cm)

            Leon Gallery
          • Charlie Co (b. 1960) The swordsman
            Apr. 22, 2023

            Charlie Co (b. 1960) The swordsman

            Est: ₱150,000 - ₱195,000

            Charlie Co (b. 1960) The swordsman signed and dated 2012 (lower left) oil on canvas 36” x 24” (91 cm x 61 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960) Free as a Bird
            Apr. 22, 2023

            Charlie Co (b. 1960) Free as a Bird

            Est: ₱15,000 - ₱19,500

            Charlie Co (b. 1960) Free as a Bird signed and dated 2006 (lower left) pen and ink on paper 12 1/2” x 16” (31 cm x 41 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960) Untitled
            Apr. 22, 2023

            Charlie Co (b. 1960) Untitled

            Est: ₱10,000 - ₱13,000

            Charlie Co (b. 1960) Untitled signed and dated 2013 (lower right) pastel on paper 6” x 6” (15 cm x 15 cm)

            Leon Gallery
          • Charlie Co (b. 1960) Cowboy’s Rocking Horse
            Apr. 22, 2023

            Charlie Co (b. 1960) Cowboy’s Rocking Horse

            Est: ₱10,000 - ₱13,000

            Charlie Co (b. 1960) Cowboy’s Rocking Horse signed and dated 2014 (lower right) mixed media 17” x 18” (43 cm x 46 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960) Musician
            Apr. 22, 2023

            Charlie Co (b. 1960) Musician

            Est: ₱150,000 - ₱195,000

            Charlie Co (b. 1960) Musician signed and dated 2016 (upper left) acrylic on canvas 23” x 23” (58 cm x 58 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Feb. 18, 2023

            Charlie Co (b. 1960)

            Est: ₱120,000 - ₱156,000

            Charlie Co (b. 1960) The Crusader's Horse signed and dated 2006 (lower right) oil on canvas 60" x 24" (152 cm x 61 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot The image of the horse is a recurring element in the allegorical and provocative works of Charlie Co. In this piece titled The Crusader’s Horse, Co evokes the image of the “red horse” of the second horsemen in the Book of Revelation. A passage in the biblical text writes: “When he broke open the second seal, I heard the second living creature cry out, “Come forward.” Another horse came out, a red one. Its rider was given power to take peace away from the earth so that people would slaughter one another. And he was given a huge sword.” (Revelation 6: 3-4, New American Bible Revised Edition). Co also evokes the bloody legacy of the medieval Crusades, the series of military expeditions sanctioned by the Pope to recapture the Holy Land from the Muslims. Although deemed “religious” in nature by its supporters, the crusaders committed acts of barbarity and savagery toward fellow Christians (those adhering to the Orthodox faith) and non-Christians, such as Jews and Muslims. Among the most notorious is the massacre of numerous Jews and Muslims in the Siege of Jerusalem during the First Crusade. In contemporary history, the phrase Deus Vult (‘God Wills It!’), chanted by the crusaders of the First Crusade, was the cry of the 2017 white supremacist marches in the western hemisphere, all the while carrying flags bearing the crusader cross. After all, the medieval crusades have been used in propaganda attempting to justify bigotry and prejudice toward people deemed inferior. By combining the biblical image of the red horse and the brutal history associated with the medieval crusaders, Co presents a compelling and relevant work that poignantly evokes the harrowing effects of despicable wars on modern-day society, which are often imperialistic and tyrannical in nature. With its fiery eyes emphasizing its aggressiveness and rage, the red horse represents war, violence, and bloodshed. The work’s background depicts blazing flames, symbolizing inferno—the unbearable pain of those forced into the seemingly eternal damnation and brutal destruction of war and oppression. The most destructive wars in today’s world are not waged by the oppressed to reclaim their humanity; the majority are done by the imperial powers to reinforce their hegemony and influence over the world. (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 21, 2023

            Charlie Co (b. 1960)

            Est: ₱30,000 - ₱39,000

            Charlie Co (b. 1960) Untitled (Diptych) signed and dated 1991 (lower right) charcoal on board 38” x 27” (97 cm x 69 cm) each

            Leon Gallery
          • Charlie Co (b.1960)
            Jan. 21, 2023

            Charlie Co (b.1960)

            Est: ₱30,000 - ₱39,000

            a) Stardom signed and dated 2016 (lower left) oil pastel on paper 6” x 6” (15 cm x 15 cm) b) Woman Behind The Walls signed and dated 2015 (bottom) oil pastel on paper 6” x 6” (15 cm x 15 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960) A Moment's Rest
            Dec. 03, 2022

            Charlie Co (b. 1960) A Moment's Rest

            Est: ₱140,000 - ₱182,000

            A Moment's Rest signed and dated 2016 (lower right) acrylic on canvas 48" x 48" (122 cm x 122 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot The works of lauded Negrense contemporary artist Charlie Co form a series of recognizable iconographies revolving around the whimsical and eccentric. Brimming with vibrancy and candidness, Co’s art is often imbued with powerful allegories acting as commentaries on today’s socio-political affairs. But in select works, Co imbibes a celebration of his life and art. Such is the case with this particular piece. Titled A Moment’s Rest, Co incorporates familiar elements from his surreal visual narratives, such as horses and jesters, and interweaves them into a work that encapsulates the essential Charlie Co. Filled with child-like exuberance, the work serves as Co’s self- portrait, presenting an outlook into the artist’s disposition. It is a visual chronicle and celebration of Co’s life as an artist and a human being imbued with struggles and triumphs. Two years prior to the creation of this work, Co had a successful kidney transplant after suffering from kidney failure due to diabetes. Here, we can see Co at the very center of the piece, intimately living and experiencing a renewed life in the surreal world he had always created. The artist says of this work: “You could see me, the artist, sitting comfortably, dreaming, holding a brush in one hand and my painting in the other, surrounded by my favorite images of horses and clowns that are always recurring in my whimsical world.” In a highly introspective and cathartic work that powerfully speaks of his being, Co expresses that his life is essentially none other than his art because, for him, art heals. Co’s application of his trademark vivid palette embodies his impassioned stance toward the subject. One can discern an atmosphere of lightheartedness and, at the same time, intimately share the artist’s lived experience—and his indebtedness to his art and its dramatis personae that accompanied him amid affliction. Co once said: “A painter is also a visionary, helping people understand what is going on in his environment by creating something visually powerful. But one should consider that an artist should get right in his inner self first before anything else.” (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960) Celebration of the Golden Time
            Dec. 03, 2022

            Charlie Co (b. 1960) Celebration of the Golden Time

            Est: ₱180,000 - ₱234,000

            Celebration of the Golden Time signed and dated 2016 (lower right) acrylic on canvas 72" x 48" (183 cm x 122 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot The world that Charlie Co had created possesses an inherent effervescence akin to a child’s innocence and burgeoning curiosity about the world. The subjects that inhabit Co’s whimsical world are either imbued with socio-political underpinnings or simply the artist’s evocation of his various personal experiences. Nonetheless, whatever the subject may be, they still retain that palpable quality of child-like playfulness and the vitality of children’s stories that Co has become known for. Co visually expounds on the popular metaphorical phrase in this work titled Celebration of the Golden Time. This work is best seen in the context of Co’s successful kidney transplant in 2014 after suffering from kidney deterioration due to decades of suffering from diabetes. Co says: “It speaks of the main character riding triumphantly on his red horse, enjoying the success in his life and acknowledging the importance of time.” Set amidst a backdrop of an enchanting landscape akin to a magical setting in a children’s fairy tale book, a man donned with a crown on his head can be seen jubilantly riding a red horse. Traditionally, the red horse symbolizes war, violence, destruction, and aggression. But in Co’s dream-like world, the image of the red horse is transformed into a compelling symbol of regeneration after experiencing the haunting fragility of our mortal existence. This symbolism is especially evident in the horse’s elated facial expression and high-spirited body language. The man is holding an amulet containing an image of what seems to be the ‘Eye of Providence,’ which symbolizes divine guidance. The piece evokes a euphoric yet contemplative atmosphere, a palpable reminder that we must continue thriving and realize all our potential in the midst of the inevitable ephemerality in this world. (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960)
            Oct. 22, 2022

            Charlie Co (b. 1960)

            Est: ₱12,000 - ₱15,600

            Charlie Co (b. 1960) Untitled signed and dated 2015 (lower right) mixed media 17” x 17” (43 cm x 43 cm)

            Leon Gallery
          • Charlie Co (b. 1960) - Suddenly There Was An Evil
            Sep. 10, 2022

            Charlie Co (b. 1960) - Suddenly There Was An Evil

            Est: ₱500,000 - ₱650,000

            Charlie Co (b. 1960) Suddenly There Was An Evil signed and dated 2007 (lower right) oil on canvas 58 1/2" x 83 1/2" (149 cm x 212 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot Apalpable sense of poignant whimsy can be felt throughout the artistic practice of celebrated Bacolod-based painter Charlie Co. Vibrant, surreal, and rife with allegory, Co’s works seemingly subverts the often dour and serious tone of critique by utilizing the technicolor aesthetics often attributed to theatre and circus productions. Co’s ability to present a variety of sociological, psychological, and philosophical topics in a relatively new and unorthodox light has landed him numerous praises from artists, collectors, and critics alike. Notwithstanding the baffling characteristic of his works, Co always ensures to impart to his viewers a specific narrative. He executes this through a formidable mastery of his composition and an innocent playfulness in his inquiries of visual language. Co’s style gives prominence to thematic content over realism. He has always inclined his style towards renditions of folk elements in a highly stylized manner. Co’s application of color in this piece is arresting, employing raging reds and bold blues that the artist strikingly accentuated. The emphasis on color coupled with the artist’s dynamic and textural strokes align to a purpose – amplifying the impassioned narratives of his subjects. Behind Co’s seemingly innocent themes lie a collection of symbols and allegories that point towards the bizarre and often absurd nature of the human condition. As stated by Co, “A painter is also a visionary, helping people understand what is going on in his environment by creating something visually powerful. But one should consider that an artist should get right in his inner self first before anything else.” A Negros Occidental-based contemporary visual artist, Co’s name has been synonymous with striking social realist themes executed in expressionist and surrealist styles. In the 1980s, he co-founded the Black Artists of Asia (BAA), a Bacolod-based collective that brought awareness to the predicaments of sakadas (sugarcane farmers) and other groups in the lowest strata of social hierarchy. Co has had exhibitions in numerous countries and became the Filipino representative in prestigious international events such as the Asian Modernism exhibition at the Japan Foundation Asian Cultural Center in 1995 and the 23rd São Paulo Art Biennial in Brazil in 1996. In 1990, Co received the CCP Thirteen Artists Award.

            Leon Gallery
          • Charlie Co (b. 1960) - Trumpet of Conflict
            Sep. 10, 2022

            Charlie Co (b. 1960) - Trumpet of Conflict

            Est: ₱200,000 - ₱260,000

            Charlie Co (b. 1960) Trumpet of Conflict signed and dated 2015 (upper left) acrylic on canvas 48" x 48" (122 cm x 122 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot León Gallery wishes to thank the artist for confirming the authenticity of this lot Behind the child-like playfulness evoked by the works of prolific Bacolod-born contemporary visual artist Charlie Co is an oeuvre teeming with powerful social commentaries on the current state of affairs not just in the country but in other parts of the world. In Trumpet of Conflict, Co appropriates the biblical “trumpet” found in the eschatological Book of Revelations and reverses its meaning as a symbol of oppression under religious extremism and imperialism. Created in 2015 at the height of ISIS brutality, Co shared to León Gallery the meaning and context behind this work. “This piece is about the war in Afghanistan, the rise of the ISIS extremists,” shares Co. The images wearing black are the ISIS and those wearing orange are the foreigners who were executed and shown on social media. The figure with the trumpet symbolizes the Western policies, instigating war.” (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jun. 11, 2022

            Charlie Co (b. 1960)

            Est: ₱140,000 - ₱182,000

            Charlie Co (b. 1960) Pieta signed and dated 1997 (lower right and verso) oil on canvas 60" x 60" (152 cm x 152 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot EXHIBITED: Ray Hughes Gallery, Moro-Moro, Sydney, 2002 LITERATURE: Co, Charlie, and Ma. Cecilia Locsin-Nava. Moro-Moro. Exhibition catalog. Ray Hughes Gallery. Sydney. 2002. Full-color illustration on page 9. Charlie Co gives a haunting yet poignant interpretation of the Mother and Child theme. Co’s Pieta takes inspiration from Michelangelo’s Renaissance sculpture of the same name. One of the most iconic works of art, Michelangelo’s Pieta depicts the Virgin Mary as the Mater Dolorosa, grieving over the dead Christ. While Michelangelo’s work expresses the graceful acceptance of a peaceful death, giving hope to the promise of everlasting life, Co’s rendition conveys man’s vulnerability and a mother’s nurturing and protective instinct, which springs from her profound love for her offspring. In this piece, a gravely injured man helplessly lies on his mother’s lap and nearly succumbs to his own death. The two are situated inside a dreary cave and surrounded by a swarm of human-like crows, symbolizing the severity of the man’s suffering and torment. Interestingly, the man possesses the stigmata wounds on his hand and ribs. Another notable detail is his fatally wounded head and the crown of thorns in the lower-left corner of the painting. These elements represent the agonizing thoughts and experiences penetrating our mental, physical, and emotional stability. While her son is in an almost powerless state, the mother is undaunted in protecting him, whatever the cost to her own security and well-being may be. “We are all vulnerable to harm when we become physically and mentally weak. And when we are, the evil ones are ready to finish us off,” says the artist. “A man has been attacked by human-like crows. They could not seem to get enough as they wait for yet another chance to pounce on him and devour him like vultures. But a mother’s instinct is always to protect her child from harm. Thus, this image is inspired by the Pieta.” Co’s Pieta forms part of the artist’s 2002 exhibition titled Moro-Moro. Ma. Cecilia Locsin-Nava writes in the exhibition catalog: “Co compares his work to a diary where he chronicles his reactions to events that register in his consciousness.” In its entirety, the piece symbolizes the intimate relationship and emotional attachment between a mother and her child. Despite the distressing circumstances, a mother’s unwavering and enduring love will always prevail. (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jun. 11, 2022

            Charlie Co (b. 1960)

            Est: ₱300,000 - ₱390,000

            Charlie Co (b. 1960) Old Boys Club signed and dated 2002 (lower right and verso) oil on canvas 46 1/2" x 58" (118 cm x 147 cm) León Gallery wishes to thank the artist for confirming the authenticity of this lot Charlie Co’s oeuvre seemingly acts as a visual companion of a satirical column that aims to expose the system’s follies. His visual language—allegorical, symbolical, and whimsical— exudes a child-like playfulness, which the casual observer may initially perceive as an ode to a nostalgic longing for one’s childhood naivety and innocence. But Co’s arresting iconography is an outright criticism of existing social conditions. Created after the Second EDSA People Power and the subsequent general elections, Co confronts the irony of traditional politics in Old Boys Club. The artist fuses elements of surrealism and social realism to produce a work that exposes the contradictions within a rotten socio-political system. Here, traditional politicians engage in merrymaking, consolidating their forces to exploit further and oppress the people. Rendered in a satirical approach, Co depicts the subjects as comical figures, set to take advantage of the power entrusted to them by the people to advance their mercenary interests and feed their avarice. One intriguing figure is a man standing at the back and holding a mask. This figure embodies one of the traditional politician’s main attributes: deception through distortion of facts and illusory and groundless platforms. But amid the festivity, the people remain vigilant. Under our present constitution, “sovereignty resides in the people, and all government authority emanates from them.” We gave them the power—and we can take it back. We just have to constantly remind ourselves: for what and for whom are we struggling? “This piece was about the 2001 elections,” shares Co. “Politicians are celebrating victory. A lone woman, thenpresident Gloria Arroyo, sitting with her back facing the viewer, looks at herself in the mirror. Different characters are gathered around the table, mostly clowns. They are even accompanied by symbols of corruption (crocodile underneath the table) and abuse of power. As they celebrate their victory, behind the curtains are red flags that symbolize that they are being closely watched from the outside by dissidents.” (A.M.)

            Leon Gallery
          • Charlie Co (b. 1960) - Stage Act 1
            Apr. 23, 2022

            Charlie Co (b. 1960) - Stage Act 1

            Est: ₱10,000 - ₱13,000

            Charlie Co (b. 1960) Stage Act 1 signed and dated 2016 (lower left) oil pastel on paper 12” x 9” (30 cm x 23 cm)

            Leon Gallery
          • Charlie Co (b. 1960) - a) Wearing Two Hats b) Matador
            Apr. 23, 2022

            Charlie Co (b. 1960) - a) Wearing Two Hats b) Matador

            Est: ₱20,000 - ₱26,000

            Charlie Co (b. 1960) a) Wearing Two Hats b) Matador a) signed and dated 2016 (lower left) b) signed and dated 2016 (upper right) a) oil pastel on paper b) oil pastel on paper a) 12” x 9” (30 cm x 23 cm) b) 12” x 9” (30 cm x 23 cm) Each piece is accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • a) Romulo Olazo (1934 - 2015) b) Charlie Co (b. 1960) - a) A Man with Character Portrait b) Daydreaming
            Apr. 23, 2022

            a) Romulo Olazo (1934 - 2015) b) Charlie Co (b. 1960) - a) A Man with Character Portrait b) Daydreaming

            Est: ₱30,000 - ₱39,000

            a) Romulo Olazo (1934 - 2015) b) Charlie Co (b. 1960) a) A Man with Character Portrait b) Daydreaming a) signed and dated 1976 (lower right) b) signed and dated 2004 (lower right) a) charcoal on paper b) pen and ink on paper a) 10 1/2” x 7 1/2” (27 cm x 19 cm) b) 9 1/2” x 6 3/4” (24 cm x 17 cm)

            Leon Gallery
          • Bird man
            Mar. 12, 2022

            Bird man

            Est: ₱430,000 - ₱480,000

            Charlie Co (b. 1960) Bird man Signed and dated '1998' (lower right) Oil on canvas 123 x 123 cm (48 1/2 x 48 1/2 in) A Galleria Duemila Inc. label is affixed at the back of the frame, COP-5391, Co, Charlie, Bird Man, 123 (h) x 123 (w)/48.462 (h) x 48.462 (w), oil on canvas, 1998

            Salcedo Auctions
          • Untitled (Dancing)
            Mar. 12, 2022

            Untitled (Dancing)

            Est: ₱220,000 - ₱240,000

            Charlie Co (b. 1960) Untitled (Dancing) Signed and dated '2002' (lower right) Oil on canvas 91 x 61 cm (36 x 24 in) Accompanied by a Certificate of Authenticity issued and signed by the artist

            Salcedo Auctions
          • Charlie Co (b. 1960)
            Jan. 29, 2022

            Charlie Co (b. 1960)

            Est: ₱15,000 - ₱19,500

            Charlie Co (b. 1960) White Christ signed and dated 2014 (lower right) pastel on paper 15” x 11” (38 cm x 28 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 29, 2022

            Charlie Co (b. 1960)

            Est: ₱35,000 - ₱45,500

            Charlie Co (b. 1960) Untitled signed and dated 2012 (upper right) mixed media 19 1/2” x 17 1/2” x 5” (50 cm x 44 cm)

            Leon Gallery
          • a) Charlie Co (b. 1960) b) Lamberto Hechanova (b. 1933)
            Jan. 29, 2022

            a) Charlie Co (b. 1960) b) Lamberto Hechanova (b. 1933)

            Est: ₱15,000 - ₱19,500

            a) Charlie Co (b. 1960) b) Lamberto Hechanova (b. 1933) a) Ambition b) Abstract a) signed and dated 1993 (lower right) b) signed and dated 1969 (lower right) a) pen and ink on paper b) mixed media on paper a) 9 1/2” x 12 1/2” (24 cm x 32 cm) b) 8” x 7” (20 cm x 18 cm)

            Leon Gallery
          • Charlie Co (b. 1960)
            Jan. 29, 2022

            Charlie Co (b. 1960)

            Est: ₱12,000 - ₱15,600

            Charlie Co (b. 1960) Stage Act 1 signed and dated 2016 (lower left) oil pastel on paper 12” x 9” (30 cm x 23 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

            Leon Gallery
          • Charlie Co (b. 1960) Superstar Chair
            Dec. 04, 2021

            Charlie Co (b. 1960) Superstar Chair

            Est: ₱180,000 - ₱234,000

            Charlie Co (b. 1960) Superstar Chair signed and dated 2003 (lower left) oil on canvas 48" x 24" (122 cm x 61 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot Charlie Co is a relentless force in taking advantage of the potency of figurative expressionism that fringes on the boundaries of surrealism to yield dynamic allegorical visual narratives. Co has already developed his social consciousness concerning the world around him as early as his childhood. This has resulted in works that overflow with child-like playfulness yet are agitating critical commentaries. Throughout his four-decade career, his whimsical and often bizarre iconography has been prompting an awakening of his viewer’s sensitivity and discernment regarding our society’s perennial issues. As written by Amado Bajarias in the July 16, 1995 issue of the Sunday Times Magazine, Co’s paintings are “sincere, candid, and surreal. There is an absence of pretensions and highfalutin concepts. Instead, they possess the playfulness and the energy of fantastic stories for children. Their ebullience is infectious; viewers are drawn closer.”

            Leon Gallery
          • Charlie Co (b. 1960) The Purple Jacket
            Oct. 16, 2021

            Charlie Co (b. 1960) The Purple Jacket

            Est: ₱15,000 - ₱19,500

            Charlie Co (b. 1960) The Purple Jacket signed and dated 2013 (upper left) oil pastel on paper 15” x 12” (38 cm x 30 cm)

            Leon Gallery
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