Anita Magsaysay-Ho Sold at Auction Prices

b. 1914 - d. 2012

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            • Anita Magsaysay-Ho (1914 - 2012) - Lavanderas by the Stream
              Nov. 30, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Lavanderas by the Stream

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

              Lavanderas by the Stream signed and dated 1934 (lower left) oil on board 18 1/2” x 14 1/2” (47 cm x 37 cm) PROVENANCE: Private collection, USA On September 21, 1958, This Week released its selection of "Six Outstanding Filipino Painters," chosen by a veritable panel of judges from the various fields of the arts. Anita Magsaysay-Ho emerged triumphant, the only woman who earned a spot in the highly publicized list. The secret that earned her a spot? It's all in her depiction of women in all their glorious delight. As a fitting culmination to Anita Magsaysay-Ho's 110th birth anniversary and the worthy recognition of her maiden participation at the recently concluded 60th Venice Biennale through her 1944 Self-Portrait, the earliest known work by the revered modernist has come home to the Philippines. Here, Anita's now iconic women make their grand debut in a piece highly influenced by her esteemed professor, Fernando Amorsolo. This 1934 piece, titled Lavanderas by the Stream, is the earliest painting by Anita Magsaysay-Ho to come to the market. This work is a rarity; every monograph written about Anita has always started her chronological presentation of works in the 1940s, missing the gap that could be filled by her earliest works from the 1930s. This work fills that gap in Anita's visual chronology of her oeuvre, a veritable window into her conservative beginnings before she metamorphosed into a pioneering Filipina modernist. When Anita created this work, she was in the final year of her studies at the UP School of Fine Arts. Students in their fourth year are required to take up the course "Advanced Landscape Painting," helmed by none other than Fernando Amorsolo. A description of the course from the 1932-33 General Catalogue of the University of the Philippines details that classes in this course are conducted in the nearby open localities selected by the professor. Anita wrote in her memoirs that Amorsolo sent off his students to travel to different locations within the School of Fine Arts environs and paint there on the spot. Anita depicts in the work at hand—painted en plein air—a scene from rural Malate, particularly the vicinity of nearby De La Salle College, a less than 2-kilometer walk from the School of Fine Arts and “at the time was still a rural area," she recalled. Anita wrote in her old diary about a moment when she and her classmates/friends, Amparing and Consuelo, painted “a beautiful landscape” with “some bedraggled nipa huts among clamps of bamboos” in the background. That diary entry is accompanied by Anita's sketch reminiscing about that moment, a drawing depicting a scenery similar to the work on offer. The setting of Lavanderas by the Stream also bears similarities to a particular anecdote in Anita’s memoir, in which she waited for Amorsolo in the vicinity of La Salle to come and critique a painting she did of the locale (a story recounted in the previous essay). One can also imagine in the work on offer how Anita enthusiastically painted this piece, all the while waiting for Amorsolo to assess her progress. Amorsolo's influence can be heavily discerned, especially when viewed from the context of his plein air landscapes. There are the human figures outlined through colors and candid impastos; the short and swift strokes that seemingly pulsate and breathe life into the composition; and the contrast of areas of light and shadow achieved through the manipulation of texture and tones. Of course, there are the lavanderas—a favorite of Amorsolo and the theme of humans living in harmony with nature. Anita learned from Amorsolo the practice of priming the canvas with gray paint, resulting in a pastel-like quality that complements the luminosity of oil paint. "All of us painted our canvases in grey," Anita said to Cid Reyes in an interview. This painting is an image of radiance and serenity, which would eventually be translated into Anita's modernist practice. Even as a modernist, the "Amorsolo effect" was still apparent in the way Anita depicted her women as delightful and serene in their labor, emphasizing the dignity inherent—and that should be endowed to the most precious of all endeavors. This is much like Amorsolo, who blessed her dalaga with all the world's exuberance. While she eventually forged her formidable path to modernism, Anita never renounced her conservative upbringing. "She staunchly believes that one can learn true art only by studying the basic principles set down by the classicists," writes an article in The Sunday Times Magazine following her historic win at the 1952 AAP." For Anita, a good painting is a good painting, whether conservative or modern. What binds the modernist Anita and the pre-war, conservative Anita is that both embodied and found bliss in women at work. With the sheer warmness of its tones, the composition naturally exudes the vitality of living. Here lies Anita's joy and confidence, enlivened by the loving home where she grew up surrounded by people, especially her Nana and her mother Amalia, who nurtured her with unwavering support for her passion for the arts. Anita would say in an interview seven decades later, in May 2005: "In my works, I always celebrate the women of the Philippines. I regard them with deep admiration, and they continue to inspire me—their movements and gestures, their expressions of happiness and frustrations; their diligence and shortcomings; their joy of living. I know very well the strength, hard work, and quiet dignity of Philippine women, for after all, I am one of them." Here in this work is presented—for the very first time in Anita's canvas—the peasant and rural women whom Anita exalted, and who would also put her at the forefront of Philippine post-war painting, perfectly materialized in her historic First Prize win at the 5th AAP Annual in 1952 for her now iconic The Cooks

              Leon Gallery
            • ANITA MAGSAYSAY-HO (1914-2012). Women with Trees. mixed media on canvas 66
              Nov. 09, 2024

              ANITA MAGSAYSAY-HO (1914-2012). Women with Trees. mixed media on canvas 66

              Est: $1,500,000 - $2,500,000

              ANITA MAGSAYSAY-HO (1914-2012). Women with Trees. mixed media on canvas 66 x 53 cm. (26 x 20 7⁄8 in.).

              Christie's
            • ANITA MAGSAYSAY-HO (1914-2012). Santol Pickers. oil on canvas 45 x 74 cm. (
              Sep. 27, 2024

              ANITA MAGSAYSAY-HO (1914-2012). Santol Pickers. oil on canvas 45 x 74 cm. (

              Est: $3,000,000 - $5,000,000

              ANITA MAGSAYSAY-HO (1914-2012). Santol Pickers. oil on canvas 45 x 74 cm. (17 3⁄4 x 29 1⁄8 in.).

              Christie's
            • Anita Magsaysay-Ho: In Praise of Women
              Sep. 14, 2024

              Anita Magsaysay-Ho: In Praise of Women

              Est: ₱20,000 - ₱30,000

              Alfredo R. Roces Pasig City: The Crucible Workshop, 2005 Hand-signed by Anita Magsaysay-Ho and Alfredo R. Roces

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - A print from the 'Vancouver Watercolour Flower' series
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - A print from the 'Vancouver Watercolour Flower' series

              Est: ₱18,000 - ₱20,000

              Anita Magsaysay-Ho (1914 - 2012) Hand-signed and dated '1990' (lower right) Ed. 217/300 Offset lithograph 32 x 42 cm (12 1/2 x 16 1/2 in) Doris Ho has graciously confirmed the authenticity of this artwork

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Rakuyaki
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Rakuyaki

              Est: ₱35,000 - ₱50,000

              Anita Magsaysay-Ho (1914 - 2012) Hand-signed and undated (lower right) and initialed on plate Ed. 62/100 Serigraph by Atelier Art Print 40 x 40 cm (15 3/4 x 15 3/4 in)

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Untitled (Three Women Cooking)
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Untitled (Three Women Cooking)

              Est: ₱50,000 - ₱55,000

              Anita Magsaysay-Ho (1914 - 2012) Hand-signed and dated '1995' (lower right) Ed. 349/400 Lithograph 30 x 50 cm (11 3/4 x 19 3/4 in)

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Untitled (Fish Vendors)
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Untitled (Fish Vendors)

              Est: ₱50,000 - ₱55,000

              Anita Magsaysay-Ho (1914 - 2012) Hand-signed and dated '1997' (lower right) Ed. 56/400 Woodblock 29.5 x 50 cm (11 3/4 x 19 3/4 in)

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Confidences
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Confidences

              Est: ₱33,000 - ₱40,000

              Anita Magsaysay-Ho (1914 - 2012) Hand-signed and dated '1993' (lower right) Ed. 150/350 Lithograph Print size: 25 x 33 cm (10 x 13 in) Paper size: 39.4 x 45.7 cm (15 1/2 x 18 in)

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Women with Jars
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Women with Jars

              Est: ₱24,000 - ₱30,000

              Anita Magsaysay-Ho (1914 - 2012) Hand-signed with dedication 'To dear Carol from . . Anita Magsaysay-Ho' (lower right) Print on canvas 33 x 25 cm (13 x 10 in)

              Salcedo Auctions
            • Anita Magsaysay-Ho (1924 - 2012) - Women with Baskets
              Sep. 14, 2024

              Anita Magsaysay-Ho (1924 - 2012) - Women with Baskets

              Est: ₱880,000 - ₱900,000

              Anita Magsaysay-Ho (1924 - 2012) Signed and dated '1977' (lower right) Tapestry Image dimensions: 66 x 98 cm (26 x 38 1/2 in) Total dimensions: 185.5 x 97 cm (73 x 38 in)

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Untitled (Nude)
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Untitled (Nude)

              Est: ₱280,000 - ₱330,000

              Anita Magsaysay-Ho (1914 - 2012) Signed and dated '1989' (lower right) Watercolor on paper 37 x 24 cm (14 1/2 x 9 1/2 in) Doris Ho has graciously confirmed the authenticity of this artwork

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Untitled (Crowd with Umbrellas)
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Untitled (Crowd with Umbrellas)

              Est: ₱1,800,000 - ₱2,200,000

              Anita Magsaysay-Ho (1914 - 2012) Signed and dated '1959' (lower left) Ink and watercolor on paper 33 x 48 cm (13 x 19 in) A signed note from the artist is affixed to the back of the frame Accompanied by a Provenance Letter issued by Art Circle Gallery

              Salcedo Auctions
            • Untitled (Nude)
              Sep. 14, 2024

              Untitled (Nude)

              Est: ₱600,000 - ₱700,000

              Anita Magsaysay-Ho (1914 - 2012) Signed and dated '1997' (lower right) Charcoal on paper 35 x 46 cm (14 x 18 in) Accompanied by a provenance document with a photo of the artwork with the owner and the artist Exhibition: The Crucible Gallery, Mandaluyong City, 1997

              Salcedo Auctions
            • Anita Magsaysay-Ho (1914 - 2012) - Sabungero
              Sep. 14, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Sabungero

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

              PROPERTY FROM THE JESUS AND MARITESS PINEDA COLLECTION Sabungero signed (lower left) ca. 1945 - 1946 oil on canvas 15" x 10 3/4" (38 cm x 27.5 cm) LITERATURE: Roces, Alfredo. Anita Magsaysay-Ho: In Praise of Women (With Annotations on Paintings by Anita Magsaysay-Ho). Pasig City: The Crucible Workshop, 2005. Full-color illustration and painting description on page 281. WRITE UP Anita Magsaysay-Ho (May 25, 1914 - May 5, 2012) was— and is—a pre-eminent figure in the world of Filipino modern art. She was also the only female member of the Thirteen Moderns, a group of Filipino avant-garde artists. She was born in 1914 in Manila. Her father Ambrosio Magsaysay, an engineer, was Philippine President Ramon Magsaysay’s uncle. Anita was painting from the age of nine. She studied at the School of Fine Arts of the University of the Philippines, under the tutelage of Filipino master painters Fabian de la Rosa, and his nephews Fernando and Pablo Amorsolo, as well as Ireneo Miranda and Vicente Rivera y Mir. She studied at Manila’s School of Design, under Victorio Edades and Enrique Ruiz. She then left in the 1930s to go to the United States, where she studied at the New York Students’ League under Kenneth Hayes Miller, Will Barnet and Robert Ward Johnson. She also studied at Cranbrook Academy of Art in Michigan, under Zoltan Sepeshy. She moved to New York City, where she gave painting and drawing lessons. There, she met Robert Ho from Hong Kong. They married and moved to China, where Ho’s shipping company, Magsaysay Inc., began. The couple eventually had five children and they moved frequently because of Ho’s work. They lived in Brazil, Canada, Hong Kong and Japan. Wherever she lived, Anita had a studio where she could paint. Although she was eventually identified as one of the Thirteen Moderns, in the early 1940s, the influence of her teacher Fernando Amorsolo was still clearly visible, both in terms of subject and technique. Later, her work evolved toward modernism. In the work at hand, Anita masterfully captures the roughness and vigor associated with the famed sabungero, whose pastime was, and remains to be, a ubiquitous sight in virtually every corner of the country. It is an Amorsolo subject, but treated so differently. The brushstrokes are strong, the colors are deftly applied. The technique is brute, but the charm of the sabungero and the implied rural scene comes across. Critic E. Aguilar Cruz included her among the Neo-Realists, which later evolved into the Philippine Art Gallery group, which also numbered other women artists, Lyd Arguilla and Nena Saguil. Through the 1950s, she consistently won top awards from the Art Association of the Philippines. Her compositions emphasized movement and bustling interaction by means of bold, vigorous brushstrokes, and strong tonal contrasts of light and dark, particularly when she was using egg tempera. Magsaysay-Ho’s most famous works are those identified with the everyday lives of Filipino women, who characteristically wore scarves, had slanted eyes, in angular poses. In her old age, she could not work with oils anymore, the fumes overcame her. She continued to paint until her 2009 stroke. She died three years later, just three weeks before her 98th birthday. Her paintings continue to command the highest prices for works by a Filipino artist. This painting is important because it shows Anita Magsaysay’s style in transition. (From the Ramon Villegas Archives)

              Leon Gallery
            • Anita Magsaysay-Ho (1914-2012)
              Jul. 27, 2024

              Anita Magsaysay-Ho (1914-2012)

              Est: ₱15,000 - ₱19,500

              Fish Vendors handsigned and dated 2000 (lower right) serigraph 18” x 17” (46 cm x 43 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914-2012)
              Jul. 27, 2024

              Anita Magsaysay-Ho (1914-2012)

              Est: ₱15,000 - ₱19,500

              Untitled handsigned and dated 1975 (lower right) print 309/500 14" x 15" (36 cm x 38 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012) - Planting Rice
              Mar. 09, 2024

              Anita Magsaysay-Ho (1914 - 2012) - Planting Rice

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

              Planting Rice signed and dated 1990 (lower left) oil on canvas 36" x 30" (91 cm x 76 cm) PROVENANCE A gift from the artist WRITE UP: It may not be entirely accidental that there are so few paintings with the theme “Planting Rice” by Anita Magsaysay-Ho, despite the fact that its iconic subject matter would have been an important narrative in her over- arching theme of the Filipina at work. Perhaps the clue lies in the history of the “Planting Rice” painting which was made famous by the turn-of-the-century artist Fabian de la Rosa. For de la Rosa, this seminal work would win him a gold at the World’s Fair of St. Louis in 1904 and would mark the passing of the torch from Juan Luna to de la Rosa himself, as the Spanish empire gave way to the North American. It would be Fabian’s nephew, Fernando Amorsolo, however, who would make “Planting Rice” famous across the archipelago, replicated in countless newspapers and magazines, and most importantly calendars that would grace Filipino homes across the country. Anita Magsaysay-Ho’s first formal training would be at the College of Fine Arts at the University of the Philippines over which both men presided : the former as influential dean and the latter as her instructor. Anita would very soon shift allegiances from the classical school to the avant-garde world of abstract art championed by the Cranbrook Academy of Art where she went for post- grad studies as well as that melting-pot of cutting-edge art, the Philippine Art Gallery. From the 1950s onwards, Anita would depict women harvesters, including several works entitled “Sheaves”, showing females carrying long golden stalks of rice, a couple of them of women pounding the grain. Magsaysay-Ho would very rarely depict the iconic scene of planting rice, with only one other documented titled “In Anita Magsaysay-Ho the Rice Field” (1962). Her description of “rich green tones and in the Impressionist style” would be the same as if it were written for the work at hand. “This is a scene from my childhood which I remember well — there is great dignity in their work.” In “Planting Rice”, three women prepare the rice to be planted in the muddy fields. One woman in the background already stands in the pilapil, ready to press the shoots in the soft earth. The others hold the green stems gracefully as if they were doing a dance. The color palette is extremely soothing in cool blues and violets, very much different from Amorsolo’s sunlit vistas. For Fabian de la Rosa and Fernando Amorsolo, “Planting Rice” would also be a metaphor of female fertility, certainly a symbol of the docile, compliant Filipina woman, the dutiful helpmate of the farmer and his life. She would be silent, smiling, and self-sacrificing. In Anita Magsaysay Ho’s delicate but firm hands, “Planting Rice” would become a story of the strong woman, fending for herself and achieving without boundaries. It’s a worthy symbol on the occasion of her 110th anniversary, as one of the foremost of the Filipino Moderns. This year, the Venice Biennale will celebrate Anita Magsaysay-Ho at the 60th International Art Exhibition, the centerpiece of the influential biennial, where her art and life will be celebrated in the group show “Stranieri Ovunque – Foreigners Everywhere.” It will not only highlight artists who are foreigners, immigrants, expatriates, diasporic emigres, exiled individuals, or refugees, but more importantly, spotlight artworks created in the past century that are now points of reference for the new generations.”

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 21, 2024

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱15,000 - ₱19,500

              i. Nude I print 19 3/4" x 15" (50 cm x 38 cm) ii. Nude II print 19 3/4" x 15" (50 cm x 38 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 21, 2024

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱15,000 - ₱19,500

              i. Nude I print 17 3/4" x 12" (45 cm x 30 cm) ii. Nude II print 17 3/4" x 12" (45 cm x 30 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 21, 2024

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱15,000 - ₱19,500

              i. Nude I print 9" x 12" (23 cm x 30 cm) ii. Nude II print 9" x 12" (23 cm x 30 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 20, 2024

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱200,000 - ₱260,000

              PROPERTY FROM AN OLD MANILA FAMILY Untitled signed and dated 1978 (lower left) graphite on paper 17 1/2" x 17" (44 cm x 43 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012) - Harvesters
              Dec. 02, 2023

              Anita Magsaysay-Ho (1914 - 2012) - Harvesters

              Est: ₱10,000,000 - ₱13,000,000

              Harvesters dated 1957 oil on canvas 24” x 30” (61 cm x 76 cm) PROVENANCE: A gift from Regina Dee, from the collection of her husband Dee K. Chiong to Leticia B. Lucas. EXHIBITED: Philippine Art Gallery, Manila,6th Anniversary Exhibition, August 24, 1957. Philippine Art Gallery, Manila, Solo exhibition, Anita Magsaysay-Ho, November 30 - December 10, 1957. LITERATURE: “A New Group of Paintings by Anita Magsaysay-Ho.” This Week, September 29, 1957. Black-and-white illustration on page 32. Philippine Art Gallery. 7 Years of the Philippine Art Gallery: 1951 - 1957. Manila: Philippine Art Gallery, 1958. Listed as “Harvesters.” and owned by Dee K, Chiong, as No. 2059, on page Ap-37. WRITE UPFor this work, Anita Magsaysay-Ho plumbed the depths of her happiest childhood memories. The centerpiece was the work Harvesters. It would actually appear twice on the walls of the Philippine Art Gallery: First as the Harvesters as part of the 6th anniversary show of the PAG on August 24, 1957; and then again for Magsaysay-Ho’s solo exhibit which opened on November 30, 1957. The book 7 Years of the Philippine Art Gallery : (1951 -1957) produced by the PAG in 1958 would list Dee Kee Chiong as the owner of the Harvesters. It would be in his collection when he passed and his wife, the beauteous Regina Dee, would give it as a gift to his devoted secretary Leticia B. Lucas a few years later. Magsaysay-Ho would say that she would be exhorted by her teachers at the Art Academy to paint what she knew, but not the literal forms or shapes of Filipino people but the spirit that inhabited them. This, is what would make her paintings not only uniquely Philippine but also uniquely her own. Harvesters, the work at hand, takes place in the mountains of Zambales, in the lush green fields between San Antonio and San Marcelino, the hometown of Ambrosio Magsaysay and his mother and aunts. One of them was married to Don Ambrosio’s half-brother, Juan Rodriguez and he possessed an even vaster tract of land called Dalanawan, which rolled over several small hills at the foot of Mt. Pinatubo. This was the kingdom of the Aetas and Anita’s Tio Juanito was named Governor of the area. It is easy to imagine that this painting was set in Dalanawan: Anita would remember climbing the hills to look down “on the lovely scenery” below. It is a gold and pink-streaked dawn of an eternal summer. A grove of banana trees are bursting with their fruit, so many and so lush that they keep an entire family busy gathering the bounty into sacks. A man trundles one bundle while a woman, her son and daughter, are busy with more of this cornucopia. (Lisa Guerrero Nakpil)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Oct. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱10,000 - ₱13,000

              Untitled handsigned and dated 1993 (lower right) print 161/350 10 1/4” x 13” (26 cm x 33 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Oct. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱20,000 - ₱26,000

              a.) Two Women hand signed and dated 1990 (lower right) print 224/300 11” x 13 1/4” (28 cm x 33 cm) b.) Two Women hand signed and dated 1990 (lower right) print 224/300 11” x 13 1/4” (28 cm x 33 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Oct. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱20,000 - ₱26,000

              a. Vendors signed and dated 1996 ( lower right) print handsigned with dedication 11” x 13 1/4” (28 cm x 34 cm) b.Untitled signed and dated 1996 ( lower right) print handsigned with dedication 11” x 13 1/4” (28 cm x 34 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Oct. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱20,000 - ₱26,000

              a. Still Life hand signed ( lower right) print 104/300 13 1/2” x 17 1/2” (34 cm x 44 cm) b. Still Life hand signed ( lower right) print 104/300 13 1/2” x 17 1/2” (34 cm x 44 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012) - Girl in a Maria Clara
              Sep. 09, 2023

              Anita Magsaysay-Ho (1914 - 2012) - Girl in a Maria Clara

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

              Anita Magsaysay-Ho (1914 - 2012) Girl in a Maria Clara signed and dated 1944 (lower left) oil on masonite board 24” x 18” (61 cm x 46 cm) In the 1930s, Anita Magsaysay-Ho would sharpen her skills at the avant-garde Cranbrook Academy in Michigan, the same college that would later influence the art of Jose Joya and Napoleon Abueva. She also studied at the New York Students’ League under Kenneth Hayes Miller, Will Barnet and Robert Ward Johnson. But before she would make her name as the only female member of the vaunted Thirteen Moderns, she had a sterling foundation in classical, academic art. Ramon N. Villegas would note that Anita would begin painting from the age of nine — and went on to study at the School of Fine Arts of the University of the Philippines, under the tutelage of Filipino master painters Fabian de la Rosa, and his nephews Fernando and Pablo Amorsolo, as well as Ireneo Miranda and Vicente Rivera y Mir. Furthermore, she studied at Manila’s School of Design, under Victorio Edades and Enrique Ruiz. It was in New York City where she also met Robert Ho from Hong Kong. They married and moved to China, where Ho’s shipping company, Magsaysay Inc., began. The couple eventually had five children and they moved frequently because of Ho’s work. They lived in Brazil, Canada, Hong Kong and Japan. Wherever she lived, Anita had a studio where she could paint. Although she was eventually identified as one of the Thirteen Moderns, in the early 1940s, the influence of her teacher Fernando Amorsolo was still clearly visible, both in terms of subject and technique. Later, her work evolved toward modernism. In the work at hand, Girl in a Maria Clara, Magsaysay-Ho depicts a dolllike tot dressed in a traditional ‘Maria Clara’ ensemble : A lace panuelo (fichu) is draped over the traditional camisa (shirt) with the billowing sleeves of a turn-of-the-century styled traje de mestiza, accented with blue appliqué rendered in an Impressionist manner. A matching azure skirt completes the costume; as do a complete suite of child-sized jewelry : a pearl-studded comb, a tamborin of pierced gold beads, and creolla hoop earrings. The lovely, wide-eyed child holds a painted abanico (fan) for additional flourish. The portrait is an Amorsolo subject, but treated so differently. The brushstrokes are strong, the colors are deftly applied. The technique is intensely alive, but the charm of Filipina beauty shines through. Magsaysay-Ho was to the manor born: her father Ambrosio Magsaysay, an engineer, was uncle to the future Philippine president Ramon. She was descended from Luis Rafael Yangco whose fleet of ships earned him the title of “King of Manila Bay” and she would summer in the home of his refined son, Teodoro who would later be the Philippines’ Resident Commissioner in the United States. She was therefore no stranger to the upper crust and would be asked to create portraits not only of Manila’s society women but also their pampered children.

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012) - Laughter
              Sep. 09, 2023

              Anita Magsaysay-Ho (1914 - 2012) - Laughter

              Est: ₱22,000,000 - ₱28,600,000

              Anita Magsaysay-Ho (1914 - 2012) Laughter signed and dated 1957 (lower right) oil on canvas 24" x 20" (61 cm x 51 cm) THE JOY OF WOMEN Anita Magsaysay-Ho’s ‘Laughter’ by LISA GUERRERO NAKPIL There is a portrait of the young Anita Magsaysay in her studio at Cranbrook Academy of Art : Around her are works of art in various stages of progression, all of them depicting women. On an easel behind her is a painting of two women pounding rice — one already wears the signature scarf that would distinguish all her Filipina figures. Purita Kalaw Ledesma, founder of the Art Association of the Philippines would quote her as saying, “She believes that the Filipino face is top heavy, black hair, black brows, black eyes make the top color of the head heavy. For this reason, she generally paints her women to minimize the dark area of the head or she paints the pupils of the eyes as mere dots — and to give dramatic effect, she paints her figures as if a strong light were focused from beneath.” Magsaysay-Ho started painting at eight, “sketching with crayons”. A report in the Sunday Times Magazine, after her sensational first-prize win at the Art Association of the Philippines’ influential annual competition, said that “the turning point of her life came when a group of Cossacks were guests at her grandfather’s home.” One of them, a captain named Michael, was a painter. And while he painted, he astonished her — and instantly she made up her mind to become an artist as well. After the War, she would study at the Art Students League in New York where her teacher was Vaclav Vytlacil who was recognized in the ranks of Picasso and Braque. He was also known for being one of the founders of the American Abstract Artists group. Vytlacil would always tell his students (who included Louise Bourgeois, Willem de Kooning, and Cy Twombly), “Paint what you want.” And when the young Anita produced a work showing Igorots going down a hill, it drew this comment. “I don’t care how your people dress, paint their spirit.” Anita would thus embark on a journey of a lifetime, painting gestures and emotions, captured in expressions and movements that have come to embody and capture the spirit of the Filipino Women for several generations of art-lovers. American authoress Agnes Newton Keith would share the secret of the appeal of Magsaysay- Ho’s women : “Your market women are thin, sharp, witty, loquacious. They are both cunning and generous, both skeptics and believers. You are not sorry for them because you know you don’t have to be. If your gods were wealth and soft living, you’d paint pathos and weakness into those faces, instead, you put mysticism, strength, and love and joy of life. “And I can see it in your paintings that you love the vitality and life of your people, that you understand their tenacity of enjoyment and their delight in all their senses,” she noted sagely

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jul. 29, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱15,000 - ₱19,500

              Still Life hand signed and dated 1990 (lower right) AP, 27/30 13” x 16 1/2” (33 cm x 42 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jul. 29, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱5,000 - ₱6,500

              Portrait hand signed (lower left) lithograph 6 1/2” x 4 1/2” (17 cm x 11 cm)

              Leon Gallery
            • Anita Magsaysay Ho (1914 - 2012)
              Jul. 29, 2023

              Anita Magsaysay Ho (1914 - 2012)

              Est: ₱10,000 - ₱13,000

              3 Women Mending a Fishing Net copper 11” x 14” (28 cm x 36 cm)

              Leon Gallery
            • Anita Magsaysay Ho (1914 - 2012)
              Jul. 29, 2023

              Anita Magsaysay Ho (1914 - 2012)

              Est: ₱10,000 - ₱13,000

              2 Women Weaving a Basket aluminum 10” x 13” (25 cm x 33 cm)

              Leon Gallery
            • Anita Magsaysay Ho (1914 - 2012)
              Jul. 29, 2023

              Anita Magsaysay Ho (1914 - 2012)

              Est: ₱25,000 - ₱32,500

              a. Two Women with Baskets b. Slippers hand signed and dated 1996 (lower right); dedicated ‘To dear Cora / as ever / Anita’ (lower left) each print 11” x 13 1/2” (28 cm x 34 cm) each

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jul. 29, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱25,000 - ₱32,500

              a. Still Life hand signed (lower right) print hand numbered 104/300 13 3/4” x 17 1/2” (35 cm x 45 cm) b. Still Life hand signed (lower right) print hand numbered 104/300 14” x 17 1/2” (36 cm x 45 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jun. 17, 2023

              Anita Magsaysay-Ho (1914 - 2012)

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

              Women with Chicks signed (lower left) dated 1985 oil on canvas 16" x 20" (41 cm x 51 cm) PROVENANCE Won as a raffle prize in 1985 One of Magsaysay-Ho’s significant contributions to Philippine art was her portrayal of everyday Filipino life, particularly rural scenes and the lives of ordinary people. Her paintings often depicted farmers, fisherfolk, and women engaging in everyday activities. Magsaysay-Ho had a keen eye for capturing the laborious yet resilient spirit of the Filipino people. Through her art, she celebrated their struggles, joys, and the strong sense of community that pervades rural life in the Philippines. Though one may argue that Magsaysay-Ho was not alone in the depiction of everyday lives and peoples. Her peers, which include Victorio Edades, Vicente Manansala, Galo Ocampo, were also ahead of the curve when it came to subject-matter. Much like Magsaysay-Ho, their interests were no longer confined to the grand, historic, or even the idyllic. Their farmers and workers, free from any sort of idealized connotations, farmed and worked, labored and toiled. But their representations were far from accurate. For what the Modernists were concerned with was not merely physical reproduction, but an expression of the condition of man. For the first time in recent human history, our actions and will were seemingly not animated by any other force, whether soul or spirit, but our own. The human condition was, at its very core, human. Flawed though it may be, it was malleable. It was not permanent. And thus hope sprung forth. For suffering was no longer going to come from the heavens, but from within. The Modernists embraced the idea. They welcomed with open arms the idea that man and his labors, free from a previously pre-requisite divination, were enough to change the world. But if man could change the world, couldn't women do the same thing as well? There is a sort of thematic connection between Anita’s works and the fact that she is the only woman amongst the pioneering Thirteen Moderns. Though her works were adjacent to her peers, it was only Anita that had women front and center. From fisherfolk to farmers, laundrywoman and weavers, it was only Anita that seemingly revealed that women were capable of the dignified fruits of labor. This piece depicts a much lighter and even arguably playful side to the artist. Anita is no stranger to depicting women amidst animal and farm work. One of her most iconic works, a piece titled Egg Vendors, which Leon Gallery had the privilege of offering in its Magnificent September Auction 2021, showcases her fascination with the industry. Curator Lisa Guerrero-Nakpil writes, “This eternal symbol of new life is cupped gingerly in the hands of one of them, for such hopes must be carefully nurtured and protected. Their faces, upturned and illuminated by the single lamp, also egg-shaped, are gripped in various expressions of mystical fervor. All of them peer closely, seemingly hypnotized, eyes half-shut to see more clearly. Their hands are clasped as if praying, their heads turned heavenward. One of the maidens is pictured breathless, with lips parted as if she were ready to receive the Host in sacred rites. Anita Magsaysay Ho thus creates this enchanting narrative of motherhood, women and children in this single, almost transcendental work.” But Woman with Chicks seemingly does not express the same transcendental allure of Egg Vendors. But that undoubtedly does not make it any less of a masterpiece. For what is one of art’s cardinal functions than to elicit emotion. But this time, instead of jouissance, it is joy. Pure and simple. The work comes off as friendly and approachable, as if these women are not symbols but acquaintances or friends. This mood is further exacerbated by the fact that Anita is seemingly breaking the fourth wall by having the chicks pop out of the frame and scurry around the matting. Such a technique may have been uncommon at the time, but Anita was not the only one employing it. Hundreds of kilometers away, artists such as Salvador Dalí, René Magritte, Roy Lichtenstein, Andy Warhol, Jean-Michel Basquiat, and Barbara Kruger embraced this technique to challenge traditional notions of art and engage the viewer in a dialogue. By disrupting the illusion of a static canvas, fourth-wall breaks allowed artists to create dynamic and immersive experiences. But what makes Anita’s work stand out, aside from it being among the few Modern Filipino works that employ the fourth-wall break, is its seemingly humorous and lighthearted use that elicits an emotion that is unarguably on par with the transcendental; happiness. Eventually, Anita would depict women in more traditional social graces and contexts. But one cannot truly appreciate the fruits of one’s labor unless one understands the very foundation it was planted on. Anita’s women, though not overtly political or social, will be remembered as the cornerstone of one of the pillars of Filipino art. (J.D.)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jun. 17, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱20,000,000 - ₱26,000,000

              PROPERTY FROM THE ZITA FELICIANO COLLECTION Women with Flowers signed and dated 1993 (lower right) oil on canvas 34" x 37 1/2" (86 cm x 95 cm) PROVENANCE Acquired directly from the artist LITERATURE Roces, Alfredo. Anita Magsaysay-Ho: In Praise of Women (With Annotations on Paintings by Anita Magsaysay-Ho. Pasig City: The Crucible Workshop, 2005. Full-color photograph and painting description on page 184. Ong, Charlson, ed. A Sense of Serenity: Anita Magsaysay-Ho with Twelve Filipino Poets. Pasig City: The Crucible Workshop, 1996. fullcolor photograph and painting description on page 65. Anita Magsaysay-Ho is famous for depicting women at work but she also became renowned for capturing their feminine, softer side — praying, dancing, wielding graceful fans, and most of all, wreathed by flowers. She would write of girlhood memories of the Flores de Mayo (the feast of the Flowers of May), carrying bouquets to the Blessed Virgin Mary. “Our parents would prepare special clothes for us; sometimes we would even have flowers in our hair,” she would reminisce. “My sister and I offered flowers together with the daughters of my mother’s friends.” It was a special sense of sisterhood that she would thus associate with flowers; and it was for these friends in Manila’s genteel society that she would create these works. Anita, after all, was from one of the best uppercrust families, descended from one of the men who ruled the waters of Manila Bay with his ships. She was the niece of a beloved Philippine president, was raised by devout parents and attended the the best schools in both the Philippines and America. The work at hand has that same gentle delicacy that inhabited Anita’s private world. Three women are in engrossed in the most lady-like pursuit of flower-arranging. There are fine baskets, a pale celadon jar as well as a bounty of blossoms both from the Philippines (golden butterfly orchids, coral-colored anthuriums, lilies called ‘star gazers’) as well as foreign gardens (baby’s breath, daisies, rose-hued carnations). All the accoutrements of the art of fine living are here to be found. It is engaging and soothing and the best of these, familiar, all at the same time. Her biographer Alfredo Roces would, in fact, devote an entire chapter, entitled “Posy of Bloomers”, to MagsaysayHo’s interior portraits, It was a satisfying theme that animated her work through the decades. Magsaysay-Ho would move to HongKong in the mid1970s and stay 17 years. She would say, I consider this time my most productive years.” This is the era when Women with Flowers was created and one can easily imagine how it was painted for the elegant Mrs. Zita Feliciano, as lithe and svelte as any of the women that Anita Magsaysay-Ho would make iconic. Zita, who was both beloved and well-known in Manila society was one of its legendary swans who would glide through the stratosphere, at home in New York or Paris or London. The work, a gift from one of her closest friends, would properly grace her home and endow it with a very special aura.

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jun. 17, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱3,000,000 - ₱3,900,000

              The Good Life signed (lower right) ca. 1945 oil on wood 10” x 14” (25 cm x 36 cm) PROVENANCE Private Collection, USA León Gallery, The Spectacular Mid-Year Auction 2016, Makati City, 11 June 2016, Lot 84 LITERATURE Villegas, Ramon N. and Lisa Guerrero Nakpil. Houses: A Collection of Paintings of Philippine Houses. Makati City: Januario Jesus B. Atencio and 8990 Holdings, Inc., 2017. Full-color spread on pages 48 to 49 and painting description and essay on pages 47 to 48. Anita Magsaysay-Ho (May 25, 1914 - May 5, 2012) was — and is — a pre-eminent figure in the world of Filipino modern art. She was also the only female member of the Thirteen Moderns, a group of Filipino avant-garde artists. She was born in 1914 in Manila. Her father Ambrosio Magsaysay, an engineer, was Philippine President Ramon Magsaysay’s uncle. Anita was painting from the age of nine. She studied at the School of Fine Arts of the University of the Philippines, under the tutelage of Filipino master painters Fabian de la Rosa, and his nephews Fernando and Pablo Amorsolo, as well as Ireneo Miranda and Vicente Rivera y Mir. She studied at Manila’s School of Design, under Victorio Edades and Enrique Ruiz. She then left in the 1930s to go the United States, where she studied at the New York Students’ League under Kenneth Hayes Miller, Will Barnet and Robert Ward Johnson. She also studied at Cranbrook Academy of Art in Michigan, under Zoltan Sepeshy. She moved to New York City, where she gave painting and drawing lessons. There, she met Robert Ho from Hong Kong. They married and moved to China, where Ho’s shipping company, Magsaysay Inc., began. The couple eventually had five children and they moved frequently because of Ho’s work. They lived in Brazil, Canada, Hong Kong and Japan. Wherever she lived, Anita had a studio where she could paint. Although she was eventually identified as one of the Thirteen Moderns, in the early 1940s, the influence of her teacher Fernando Amorsolo was still clearly visible, both in terms of subject and technique. Later, her work evolved toward modernism. In the work at hand, here is the commodious bahay kubo, the silid and batalan extending well behind, quite doubling the size of the structure. The nipa is thickly bundled, ensuring dry interiors when it rained. It is not the height of the dry season, for the foliage around the house is lush. The trellis to the right is heavy with leaf, vine and yield. Father and son seem to be resting: one is leaning nonchalantly, and the boy is seated on his haunches. It is around midday, with the sun high up in the sky, with luminous clouds. One could almost hear the chickens clucking as they scratch the ground. It is an Amorsolo subject, but treated so differently. The brushstrokes are strong, the colors are deftly applied. The technique is brute, but the charm of the rural scene comes across. The artist's Studio. Cranbrook Academy o f Art, Bloomfield Hills, Michigan Critic E. Aguilar Cruz included her among the Neo-Realists, which later evolved into the Philippine Art Gallery group, which also numbered other women artists, Lyd Arguilla and Nena Saguil. Through the 1950s, she consistently won top awards from the Art Association of the Philippines. Her compositions emphasized movement and bustling interaction by means of bold, vigorous brushstrokes, and strong tonal contrasts of light and dark, particularly when she was using egg tempera. Magsaysay-Ho’s most famous works are those identified with the everyday lives of Filipino women, who characteristically wore scarves, had slanted eyes, in angular poses. In her old age, she could not work with oils anymore, the fumes overcame her. She continued to paint until her 2009 stroke. She died three years later, just three weeks before her 98th birthday. Her paintings continue to command the highest prices for works by a Filipino artist. This painting is important because its shows Anita Magsaysay’s style in transition. — from the essay on the work by Ramon N. Villegas

              Leon Gallery
            • ANITA MAGSAYSAY-HO (1914-2012) Two Mothers oil on canvas 101.6 x 61.3 cm. (
              May. 29, 2023

              ANITA MAGSAYSAY-HO (1914-2012) Two Mothers oil on canvas 101.6 x 61.3 cm. (

              Est: $1,600,000 - $2,800,000

              ANITA MAGSAYSAY-HO (1914-2012) Two Mothers oil on canvas 101.6 x 61.3 cm. (40 x 24 1/8 in.)

              Christie's
            • Anita Magsaysay-Ho (1914 - 2012) Untitled
              Apr. 22, 2023

              Anita Magsaysay-Ho (1914 - 2012) Untitled

              Est: ₱25,000 - ₱32,500

              Anita Magsaysay-Ho (1914 - 2012) Untitled print handsigned 11” x 13 1/2” (28 cm x 34 cm) each

              Leon Gallery
            • Anita Magsaysay Ho (1914 - 2012) Untitled
              Apr. 22, 2023

              Anita Magsaysay Ho (1914 - 2012) Untitled

              Est: ₱12,000 - ₱15,600

              Anita Magsaysay Ho (1914 - 2012) Untitled hand signed and dated 1995 (lower right)285/400 18 3/4” x 21 1/2” (48 cm x 55 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012) Untitled
              Apr. 22, 2023

              Anita Magsaysay-Ho (1914 - 2012) Untitled

              Est: ₱80,000 - ₱104,000

              Anita Magsaysay-Ho (1914 - 2012) Untitled signed and dated 1990 (lower right) limited print, 129/300 each 14” x 18” (36 cm x 46 cm) each

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Feb. 18, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱22,000,000 - ₱28,600,000

              Anita Magsaysay-Ho (1914 - 2012) Fruit Market signed (lower left) 1957 oil on canvas 23 1/4" x 29 1/2" (59 cm x 75 cm) PROVENANCE: Philippine Art Gallery, Manila EXHIBITED: Philippine Art Gallery, November 30 - December 10, 1957 Two Women, One Painting by LISA GUERRERO NAKPIL The hubbub of marketplaces would have a special resonance for Anita Magsaysay-Ho. They would also bring her prizes and national attention. In 1952, Magsaysay-Ho would be declared not only the best artist in the country by the all-powerful Art Association of the Philippines, but also the first woman artist to be declared so for The Cooks. It depicted a bevy of women stirring up a rich chicken soup, captured in action as they each contributed to the pot, and was simply delightful. A well-publicized fight even broke out over it and serendipitously, the winning buyer happened to be a wealthy market vendor herself who came from Tabora Street in Divisoria. Magsaysay-Ho would hold the art scene in thrall through the years with one riveting market scene after another : winning notice for Fish Vendors at the next semi-annual AAP competition, followed shortly by another triumph for Fruit Vendors, tail-gating the highly respected Fernando Zóbel the following year for top honors. For Betty Anderson, an American housewife living on Basilan Island in the Sulu Archipelago, the rhythms of Filipino life, as defined by the fruit vendors, fish hawkers, coral and shell sellers were of great import. Life Magazine would in fact capture Mrs. Anderson shopping in a Mindanao fruit market in 1951 and it looks straight out of the Magsaysay-Ho painting — festooned in hanging bananas and pineapples, capturing the hardworking fruit seller in action. Fruit Market is in the golden hues of an idealized world, the tawny skin tones of the women drawing in the eye of the viewer to the various attitudes of the women as they muse and meditate on the qualities of the fruits. There Two Women, One Painting by LISA GUERRERO NAKPIL are mangos, green and ripe, plantains and all manner of bananas. Magsaysay-Ho’s women are always intent and absorbed in their world that is filled almost to the brim pictorially with the scents and sounds of the marketplace. The artwork was exhibited in the last solo show of the year of the Philippine Art Gallery as detailed in the all-important tag, taking place from November 30th to December 10th, 1957 and it can easily be imagined that Mrs. Anderson and her husband, the busy proprietor of Basilan Lumber had traveled to Manila for a bit of Christmas shopping in the country’s leading gallery, the PAG. It certainly represents two women’s shared preoccupations, both comforting and authentic. It would be part of an important milestone for Anita Magsaysay Ho: Her third solo exhibition at the PAG which happened to be at its new address on Arquiza corner M.H. del Pilar Streets in Malate.

              Leon Gallery
            • Anita Magsaysay-Ho (1914-2012)
              Jan. 21, 2023

              Anita Magsaysay-Ho (1914-2012)

              Est: ₱25,000 - ₱32,500

              Anita Magsaysay-Ho (1914-2012) Washer Women ca. 1965 fabric and thread on canvas 26 1/2” x 43” (67 cm x 109 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱80,000 - ₱104,000

              Untitled signed (lower right) signed (lower left) print and collage 18” x 12” (46 cm x 30 cm) each

              Leon Gallery
            • Anita Magsaysay-Ho (1914-2012)
              Jan. 21, 2023

              Anita Magsaysay-Ho (1914-2012)

              Est: ₱45,000 - ₱58,500

              PROPERTY FROM THE LETICIA RAMOS SHAHANI COLLECTION a) Confidences signed and dated 1993 (lower right) print 5/350 10 1/2” x 13” (26 cm x 33 cm) b) Peanut signed and dated 1994 (lower right) print 56/400 19 1/2” x 22” (50 cm x 56 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱12,000 - ₱15,600

              Fish vender signed and dated 1997 (lower right) Serigraph 43/80 14 1/2” x 14 3/4” (37 cm x 37 cm)

              Leon Gallery
            • Anita Magsaysay-Ho (1914 - 2012)
              Jan. 21, 2023

              Anita Magsaysay-Ho (1914 - 2012)

              Est: ₱20,000 - ₱26,000

              Still Life signed (lower right) AP, 22/30 13” x 16 1/2” (33 cm x 42 cm)

              Leon Gallery
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