Jorge (1879) Pineda Paintings & Artwork for Sale | Jorge (1879) Pineda Art Value Price Guide

Jan. 25, 2025
Jorge Pineda (1879-1946)
Est: ₱15,000 - ₱19,500
PROPERTY FROM THE JOSE ABAD LOPEZ COLLECTION Untitled graphite on paper 5" x 5 1/4" (13 cm x 13 cm)
Leon Gallery
Sep. 14, 2024
Jorge Pineda (1879 - 1946) - Bodegon
Est: ₱140,000 - ₱182,000
PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Bodegon signed and dated 1901 (lower left) oil on canvas 12 1/2" x 15" (32 cm x 38 cm) LITERATURE Araneta, Antonio S., ed. 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color illustration and painting description on page 103. WRITE UP Jorge Pineda’s Bodegon (translating to still life from Spanish) eschews the romanticism espoused by his contemporaries, veering instead to a realistic depiction of a rural, everyday life. Bathing his still life with a conservative color scheme, Pineda walks the fine line of pragmatic without getting dragged into the angst that permeates every piece that does not inherently embrace romanticism. Instead, his Bodegon manages to tell the story as it is, without the rose-tinted glasses but also without the pessimism itself. The mundanity in Pineda’s world is nothing to be afraid of. It is simply how things are and that is what Bodegon portrays – the practical depiction of an ordinary table leaves the viewers not with agony or despair but contentment in living the simple life. (Hannah Valiente)
Leon Gallery
Mar. 09, 2024
Jorge Pineda (1879-1946) - Picking Duhat
Est: ₱700,000 - ₱910,000
PROPERTY OF AN OLD MANILA FAMILY Picking Duhat signed and dated 1932 (lower left) oil on canvas 26" x 18" (66 cm x 46 cm) WRITE UP: Jorge Pineda occupies a prominent yet often overlooked position in the history of Philippine genre painting. Pineda virtually distanced himself from reveling in the sheer romanticism espoused by his peers, particularly Fernando Amorsolo. Instead, Pineda basked in his brand of realism characterized by a straightforward depiction of everyday living, void of the “glamorous sensuousness Amorsolo pursued all his life,” as art critic Emmanuel Torres writes in the August 1973 issue of the Archipelago magazine and republished in the book Kayumanggi: Biographies of Filipino Visual Artists. Pineda “celebrated the homespun, creating simple impressions of daily life with disarming casualness and piquancy,” Torres also notes. Such artistic endeavor is evident in this 1932 piece titled Picking Duhat. Here, Pineda showcases his concern with the prosaic and the mundaneness and habituality of everyday living. The composition is not bathed in the exuberance of a conservative’s palette nor the inherent romantic sensibility emphasized through a nostalgia for the sweet pastoral that often comes out as schmaltzy. Instead, Pineda’s is a celebration of the rural in its ordinary, day-to-day (run-ofthe-mill, if one may deem it) business. Such visual articulation can also be seen as an influence of the 19th-century British painter and illustrator Charles W. Andrews, whom Pineda—the leading illustrator of his time, contributing to leading periodicals, including Renacimiento Filipino—admired in his lifetime. In line with his role of informing rather than persuading, Andrews produced straightforward illustrations for Ilustracion Filipina from 1859 to 1860, depicting people, places, and events as they happened in real time. Therefore, Pineda’s works possess a distinct charm that takes a step further towards a modernist approach to painting. (Adrian Maranan)
Leon Gallery
Jan. 24, 2024
Jorge Pineda. Philippine country scene
Est: -
Oil on panel. Signed in the lower right corner.
Duran Arte y Subastas
Jan. 20, 2024
Jorge Pineda (1879-1946)
Est: ₱30,000 - ₱39,000
Harbor signed and dated 1917 (lower left) watercolor on paper 11" x 16 1/2" (28 cm x 42 cm)
Leon Gallery
Jan. 20, 2024
Jorge Pineda (1879-1946)
Est: ₱30,000 - ₱39,000
Galion signed and dated 1919 (lower right) watercolor on paper 11" x 16 1/2" (28 cm x 42 cm)
Leon Gallery
Dec. 02, 2023
Jorge Pineda (1879 - 1946) - Orilla del Rio Pasig
Est: ₱500,000 - ₱650,000
Orilla del Rio Pasig signed and dated 1905 (lower right) oil on canvas 15” x 24” (38 cm x 61cm) León Gallery wishes to thank Mr. Jose Pineda for confirming the authenticity of this lot PROVENANCE Private collection, Manila WRITE UPJorge Pineda was the leading illustrator of his time, credited with producing the iconic image of Juan de la Cruz, the symbol of the Filipino masses. Pineda was a bronze medalist and a recipient of the honorable mention at the 1904 St. Louis World’s Fair. In the August 1973 issue of the Archipelago magazine, the art critic Emmanuel Torres describes Pineda’s works as celebrating “the homespun, creating simple impressions of daily life with disarming casualness and piquancy.” Torres adds that “this vernal freshness of style and outlook sprang from contact with scenographic painters who had been evolving their own manner of setting down the textures and rhythms of life observed around them.” Also writes Torres, Pineda “is at his best recreating spacious and refreshing vistas where the light of dawn, sunset, or a heavy overcast sky cuts off glare and deepens purples, siennas, and greens to produce the coolest of tones.” While Amorsolo, his close colleague, depicts Philippine sunlight at its most exuberant and vivid, Pineda’s works are characterized by “a realism tempered by a modest elegance,” as Torres puts it. His genre landscapes and vistas, such as this work at hand—created after Pineda’s triumphant win at the 1904 World’s Fair and depicting an idyllic riverside view of a once pristine Pasig River during the early 20th century—are imbibed with such a quaint charm: colors are muted while the emphasis on essential details is not shunned. (Adrian Maranan)
Leon Gallery
Oct. 21, 2023
Jorge Pineda (1879-1946)
Est: ₱50,000 - ₱65,000
Renacimento Filipino dated 1913 pen and ink, oil on paper 9 1/2” x 19 1/2” (24 cm x 50 cm) Accompanied by a certificate signed by Jose M. Pineda confirming the authenticity of this lot
Leon Gallery
Jan. 21, 2023
Jorge Pineda (1879 - 1946)
Est: ₱30,000 - ₱39,000
Jorge Pineda (1879 - 1946) Portrait Of A Woman signed (lower right) oil on canvas 16” x 13” (41 cm x 33 cm)
Leon Gallery
Apr. 23, 2022
Jorge Pineda (1879 - 1946) - Landscape
Est: ₱15,000 - ₱19,500
Jorge Pineda (1879 - 1946) Landscape signed and dated 1931 (lower left) watercolor on paper 13” x 15 1/2” (33 cm x 39 cm)
Leon Gallery
Apr. 23, 2022
Jorge Pineda (1879 - 1946) - Renacimento Filipino (Revista Ilustrada)
Est: ₱20,000 - ₱26,000
Jorge Pineda (1879 - 1946) Renacimento Filipino (Revista Ilustrada) dated 1913 pen and ink on paper 9 1/2” x 19” (24 cm x 48 cm) Accompanied by a certificate issued by Mr. Jose M. Pineda confirming the authenticity of this lot
Leon Gallery
Apr. 23, 2022
Jorge Pineda (1879 - 1946) - Laborers Obreros
Est: ₱15,000 - ₱19,500
Jorge Pineda (1879 - 1946) Laborers Obreros signed (lower right) pen and ink on paper 10” x 15” (25 cm x 38 cm)
Leon Gallery
Jan. 29, 2022
Jorge Pineda (1879 - 1946)
Est: ₱10,000 - ₱13,000
Jorge Pineda (1879 - 1946) Politician signed (lower left) pen and ink on paper 10” x 14” (25 cm x 36 cm)
Leon Gallery
Oct. 16, 2021
1044 Jorge Pineda (1879 - 1946) Untitled
Est: ₱50,000 - ₱65,000
Jorge Pineda (1879 - 1946) Untitled signed and dated 1942 (upper right) oil on board 9” x 17” (23 cm x 43 cm)
Leon Gallery
Oct. 16, 2021
a) Jorge Pineda (1879 - 1946) Politician b) Romeo Tabuena (1921 - 2015) Tall Grass and White Moon
Est: ₱20,000 - ₱26,000
a) Jorge Pineda (1879 - 1946) Politician signed (lower left) pen and ink 10” x 14” (25 cm x 36 cm) b) Romeo Tabuena (1921 - 2015) Tall Grass and White Moon signed and dated 1962 (lower left) pen and ink on paper 4 1/2” x 10” (11 cm x 25 cm)
Leon Gallery
Jul. 16, 2021
Jorge Pineda (1879 - 1946) - Various Drawings in Pen and Ink
Est: ₱30,000 - ₱39,000
Jorge Pineda (1879 - 1946) Various Drawings in Pen and Ink 13 pcs. mounted on board 8 1/2” x 11” (22 cm x 28 cm) each
Leon Gallery
Jan. 23, 2021
Jorge Pineda (1879 - 1946) Uncle Sam Series I and II
Est: ₱20,000 - ₱26,000
Jorge Pineda (1879 - 1946) Uncle Sam Series I and II signed (lower right) 10” x 15 1/2” (25 cm x 39 cm) each
Leon Gallery
Oct. 17, 2020
Jorge Pineda (1879 - 1946) - Still Life
Est: ₱45,000 - ₱58,500
Jorge Pineda (1879 - 1946) Still Life signed and dated 1926 (lower left) watercolor 6 1/2” x 10” (17 cm x 25 cm)
Leon Gallery
Jul. 18, 2020
Jorge Pineda (1879 - 1946) - Vices
Est: ₱15,000 - ₱19,500
Jorge Pineda (1879 - 1946) Vices signed (lower right) pen and ink on paper 8 1/2” x 7 1/2” (22 cm x 19 cm) Estimate: USD $300-$390 Euros €250-€325
Leon Gallery
May. 30, 2020
Jorge Pineda (1879 - 1946) - Maria Clara
Est: ₱15,000 - ₱19,500
Jorge Pineda (1879 - 1946) Maria Clara signed (lower left) graphite on paper 13 1/2” x 12” (34 cm x 30 cm)
Leon Gallery
May. 30, 2020
Jorge Pineda (1879 - 1946) - Tres Marias
Est: ₱10,000 - ₱13,000
Jorge Pineda (1879 - 1946) Tres Marias signed (middle) graphite and ink on paper 10” x 14” (25 cm x 36 cm)
Leon Gallery
Mar. 14, 2020
Jorge Pineda (1879 - 1946)
Est: ₱280,000 - ₱300,000
Untitled (Houses)
Salcedo Auctions
Nov. 30, 2019
The Execution of José Rizal
Est: ₱1,000,000 - ₱1,300,000
Jorge Pineda, hailed as the King of Filipino Illustrators, was also a worthy painter who specialized in two subjects: the simple pleasures of Filipino country life and the significant historical event. He was an ardent patriot and a devoted Rizalist who styled himself after our national hero. The critic Eric Torres described him as “a free-thinker and an anti-cleric.” He would frequently rail against the friars for engineering the execution of Rizal and bluster about the banning of the reading of the Noli Me Tangere and El Filibusterismo in Catholic schools. One of his favorite pastimes—apart from long walks—was fencing. It was a sport that entranced the ilustrado gentlemen of the time, from Rizal to the Luna brothers, and the pioneer art collector, the late Don Alfonso Ongpin. (Don Alfonso would become Pineda’s fencing partner.) It is no surprise therefore that Pineda would capture this most quintessential and defining moment in our national history. This painting, based on the single most famous photograph of Rizal’s demise, is made even more startling since it brings to life the taut colors and brooding atmosphere of that somber morning. Pineda himself was seventeen years old in 1896 and, by one account, was among the crowd on that fateful day. His prodigious memory for detail coupled with his reputation for meticulous research and his fine hand as an illustrator make this a priceless work of historical import. Pineda’s The Execution of José Rizal captures the poignant details of that remarkable occasion. Rizal stands, arms bound at the elbow, a chistera (or derby) on his head. There was a gruesome choreography to his death. First, the Filipino troops were massed on three sides, the better to give the impression that Rizal was to die at the hands of his own countrymen. Immediately in front of Rizal was a drum corps. These men were instructed to play as loud as possible to deliberately drown out Rizal’s voice should he try to address the crowd. (The corps had jauntily played the Spanish national anthem on the way to the killing field.) The account of one eyewitness, Hilarion Martinez, adds further details: When Rizal was near the center of the quadrangle, the mayor de la plaza, a colonel, announced, “En el nombre del Rey, el que se levante la voz a favor del reo sera ejecutado.” (In the name of the King, he who raises his voice in favor of the criminal will be executed.) The drum corps then withdrew and were replaced by a troop of Filipino soldiers. Massed behind the Filipinos on every side was a phalanx of Spanish soldiers, ready to take up arms should the Filipinos fail to do their duty and execute Rizal. There were civilian spectators, too, and we see their white shirts in the distance. Rizal was accompanied by two Jesuit priests, Fr. Estanislao March and Fr. Jose Villaclara, as well as his defense counsel, Lt. Luis Taviel de Andrade. The other men in white were also Spanish officers. “With visible effort,” Martinez says, “Rizal raised his right hand which was tied and took off his hat.”The moment captured in this painting was just before that split second, corresponding in almost balletic detail to Christ’s last breath on the Holy Cross. “Amidst the silence, Rizal moved his head very slowly up and down, his lips moving as if in prayer.” He continues, Then the commanding officer by means of his saber signaled the firing squad to aim. Then the saber dropped and there was a simultaneous crack of rifle fire that shattered the stillness of the morning. José Rizal wheeled in one last effort and toppled forward with a thud, his face towards the sky and his derby hat thrown ahead. He had fallen in the direction of the bay. At the center of the painting is a stark, leafless tree that conveys the isolation of Rizal and the utter sadness of his death. As did Rizal at the moment of his death, it reaches plaintively to the sky in an eloquent plea for freedom and justice. Martinez continues, Suddenly, as if from nowhere, a small dog appeared and ran in circles around Rizal’s fallen body, barking and whimpering. This incident would much later be the subject of our talk in our quarters. Some of my comrades were quick to conclude that it was a premonition of a coming misfortune. That pale dog is captured standing near the Spanish soldiers in the painting. Indeed, it would bode the end of the Spanish empire in the Philippines. Martinez proceeds, Then the capitan militar de la sanidad (medical officer) stepped forward, knelt before the fallen man, and felt his pulse. Looking up, he beckoned to a member of the firing squad to come forward and give the final tiro de gracia (coup de grace), another shot done at close range. I thought I saw a faint haze rise from Rizal’s coat, but it might have been a wisp of the morning mist. Seeing the body before me, I felt weak. The officers began to show animation again. They fell in formation and marched to the tune of the Spanish national air, the Paso Doble Marcha de Cadiz. As was customary in past executions, we filed past the body to view it for the last time. When we were commanded “eyes left,” I did not shut my eyes as I had at the sight of the several reos (convicts) whose heads were blown off by rifle fire. I wanted to see the face of the man for one last time. Rizal lay dead on the dewy grass. The day had started and I realized that I was gazing on the face of the great Malayan; that I was witnessing history in the making. (Lisa Guerrero Nakpil)
Leon Gallery
Nov. 30, 2019
Kakawate
Est: ₱700,000 - ₱910,000
In 1904, at the age of twenty-five, Pineda would find himself in the the heady company of Juan Luna, Felix Resurreccion Hidalgo, and Fabian de la Rosa at the St. Louis Exposition of 1904. He received a bronze for Campesina (Farm Girl), “showing a solidly drawn head of a rural lass,” and an honorable mention for Las Buyeras (Women Preparing Betel Nut). That honor appears to have made his reputation, and he would become one of the most sought-after illustrators of his generation. Pineda would foreshadow the age of the camera, and art critic Eric Torres would correctly point out that his paintings would evoke “a nostalgia that was likely to be … matched (only) by faded sepia photographs of pre-World War II Manila.” (Interestingly, Pineda was an avid photographer and left behind a large collection of his photos.) This titan was also an avid “Sunday painter” who enjoyed capturing the sights of his beloved Philippine outdoors. Pineda had a passion for long walks into the countryside on weekends. His favorite scenes were to be found in Balintawak. It was arcadian in those days and PIneda would bring along paint box, brushes, and canvases to create poignant landscapes. He would reportedly take his time creating these charming masterpieces, working out the compositions with great care and probing deeply into the essential atmosphere of every scene he chose to paint, says Torres. The kakawate tree was one of his most recognizable themes. Elegantly spare, the trees are accented with pale pink blossoms, as willowy as society ladies. Pineda paints a row of them by the roadside, spread out like lace fans. In the distance are rice fields, brown in the summer sun. There is a farmhouse with a quaint trellis for ampalaya (bitter gourd) vegetables. Indeed, this is one of Pineda’s finest examples that iillustrate a gentler, happier time. (Lisa Guerrero Nakpil)
Leon Gallery
Nov. 30, 2019
Manila
Est: ₱700,000 - ₱910,000
Though often seen as an artist of the rural idyllic countryside, Jorge Pineda often broke out of his own conventions to hone his mastery of the craft. His work, painted with loose, visible brushstrokes, and vibrant colors presented Pineda’s interest and grasp over the structural relationships between groups of visual elements. In this piece, we see how Pineda masterfully utilizes proportions in order to not only mimic size and ratio but also to evoke a sense of immersion. The solid and monumental presence of the buildings are locked securely into the complex composition led by the latency of the streets, which sets the presence of humans in their proper perspective.
Leon Gallery
Sep. 21, 2019
JORGE PINEDA (1879 - 1946)
Est: ₱300,000 - ₱330,000
Untitled (Mayon Volcano)
Salcedo Auctions
Jul. 20, 2019
Jorge Pineda (1879 - 1946) Untitled
Est: ₱20,000 - ₱26,000
Jorge Pineda (1879 - 1946) Untitled
Leon Gallery
Jul. 20, 2019
Jorge Pineda (1879-1946) Untitled
Est: ₱20,000 - ₱26,000
Jorge Pineda (1879-1946) Untitled
Leon Gallery
Jul. 20, 2019
Jorge Pineda (1879 - 1946) Untitled
Est: ₱20,000 - ₱26,000
Jorge Pineda (1879 - 1946) Untitled
Leon Gallery
Jun. 01, 2019
Jorge Pineda (1879 - 1946)
Est: ₱200,000 - ₱250,000
Known for his romantic depictions of the Philippine rural landscape, Jorge Pineda captures a painterly scene of a woman and her child on horse, making their way home with only the last lights of the dusking sky to guide their way. It is familiar and comforting, the silhouette warmed by the soft tones of red, orange, and yellow. Jose M. Pineda has graciously confirmed the authenticity of this painting
Salcedo Auctions
Jun. 01, 2019
Jorge Pineda (1879 - 1946)
Est: ₱260,000 - ₱300,000
A faint light enters the house, through the capiz shell window facing Zurbaran Street (now Fugoso Street in Sta. Cruz, Manila). An air of nostalgia blends completely with the enigmatic stillness of the scene. Jose M. Pineda has graciously confirmed the authenticity of this painting
Salcedo Auctions
Jun. 01, 2019
Jorge Pineda (1879 - 1946)
Est: ₱220,000 - ₱240,000
Jorge Pineda (1879 - 1946)
Salcedo Auctions
Apr. 13, 2019
Jorge Pineda (1879 - 1946) , Spoliarium (Copy) , signed lower right , oil o
Est: ₱20,000 - ₱26,000
Jorge Pineda (1879 - 1946) , Spoliarium (Copy) , signed lower right , oil on canvas 8” x 14” (20 cm x 36 cm)
Leon Gallery
Mar. 09, 2019
JORGE PINEDA (1879 - 1946) Untitled
Est: ₱220,000 - ₱240,000
JORGE PINEDA (1879 - 1946) Untitled 1941 Oil on canvas 25 x 53 cm (9 3/4 x 20 3/4 in)
Salcedo Auctions
Mar. 09, 2019
JORGE PINEDA (1879 - 1946) Untitled (Open Field)
Est: ₱750,000 - ₱800,000
JORGE PINEDA (1879 - 1946) Untitled (Open Field) Undated Oil on canvas 37 x 69 cm (14 1/2 x 27 in)
Salcedo Auctions
Mar. 09, 2019
JORGE PINEDA (1879 - 1946) Untitled (River Scene)
Est: ₱230,000 - ₱240,000
JORGE PINEDA (1879 - 1946) Untitled (River Scene) 1903 Oil on canvas 29 x 23 cm (11 1/2 x 9 1/4 in)
Salcedo Auctions
Feb. 23, 2019
Jorge Pineda (1879-1946) Magpaparol
Est: ₱400,000 - ₱520,000
Jorge Pineda (1879-1946) Magpaparol signed (lower left) oil on canvas 12” x 16” (30 cm x 41 cm)
Leon Gallery
Dec. 01, 2018
Jorge Pineda (1879-1946) Mi Ultimo Adios
Est: ₱300,000 - ₱390,000
Jorge Pineda (1879-1946) Mi Ultimo Adios Ca.1910 oil on canvas 19” x 13 1/2” (48 cm x 34 cm) Jose Rizal’s nobly tortured psyche as he writes Mi Ultimo Adios has the vibe of an Edvard Munch masterpiece, with a touch of Chagall, what with the floating images of dissonant circumstances that are in his mind in the background. Only Pineda would know if he is injecting satire in this usual composition. Pre-war graphic arts, particularly the editorial cartoons for The Independent, Lipang Kalabaw, and Philippines Free press, by Jorge Pineda (along with Jose Pereira, Irineo Miranda, even Fernando Amorsolo occasionally, was imbued with the spirit of satire.) A leading illustrator of his day, Jorge Pineda prepared long and hard to master the craft of drawing and oil painting, studying at the old Academy of Painting, Sculpture and engraving before the outbreak of the Philippine Revolution, then again under private mentors after the Philippine American war, and still much later enrolling for life studies at Teodoro Buenaventura’s school at Trozo. The composition itself tightly knit in terms of light and shadows Dramatic contrast of light and shadow enhances the composition, establishing a formal, almost tense atmosphere. It seems that Pineda places a source of light in the centre of the figure group, concealing it from direct view. Yet the amount of light emitted from this source is far greater than it would be if it were merely natural. Perhaps most remarkable is the color, here inseparable from the lighting. As was so often his practice, light is of prime importance and Pineda’s subjects are delicately bathed in a luminous glow. The expressive background figures are likewise illuminated by an almost mysterious glow of warm light. Mi Último Adiós (English; “My Last Farewell”) is a poem written by Dr. Jose Rizal on the eve of his execution by firing squadron 30 December 1896. The piece was one of the last notes he wrote before his death; another that he had written was found in his shoe but because the text was illegible, its contents today remain a mystery.
Leon Gallery
Dec. 01, 2018
Jorge Pineda (1879-1946) Untitled
Est: ₱220,000 - ₱286,000
Jorge Pineda (1879-1946) Untitled signed and dated 1930 (lower right) oil on canvas 14” x 22” (36 cm x 56 cm) Known for having painted genre and historical scenes after the Philippine Revolution, Jorge Pineda was one of the early visualizers of the Filipino identity. Involved in some activity, such as selling Christmas lanterns or stringing sampaguita flowers, the figures of his works, in traditional clothing, reveal a quiet dignity. In his lifetime, Pineda also painted landscapes, such as this work that he accomplished in 1930. Showing an almost barren terrain, trees that have lost their leaves dominate the scene, their complex branches shattering a washed-out sky. The work may be seen as a contemplation of mortality, of the last in the seven stages of man, but the painting mays imply be an affirmation of nature’s cyclical rhythms.
Leon Gallery
Oct. 24, 2018
Philippine school, circa 1900, Battles, Pair of oils on can
Est: €3,500 - €4,000
Philippine school, circa 1900 Battles Pair of oils on canvas Jorge Pineda (Philippines 1879 - 1946) painted the battle of Zapote (oil on canvas, 33x48 cm) with a similar drama to one of these works 63x83 cm
Balclis
Sep. 22, 2018
Jorge Pineda (1879 - 1946)
Est: ₱140,000 - ₱150,000
Untitled
Salcedo Auctions
Sep. 22, 2018
Jorge Pineda (1879 - 1946)
Est: ₱180,000 - ₱200,000
Untitled
Salcedo Auctions
Sep. 22, 2018
Jorge Pineda (1879 - 1946)
Est: ₱220,000 - ₱240,000
Untitled
Salcedo Auctions
Sep. 22, 2018
Jorge Pineda (1879 - 1946)
Est: ₱600,000 - ₱650,000
Untitled
Salcedo Auctions
Jul. 27, 2018
Jorge Pineda Spoliarium Study signed and dated 1941 (lower right) oil o
Est: ₱80,000 - ₱104,000
Jorge Pineda Spoliarium Study signed and dated 1941 (lower right) oil on canvas 8” x 14” (20 cm x 36 cm)
Leon Gallery
Apr. 27, 2018
Jorge Pineda (1879 - 1946)
Est: ₱50,000 - ₱65,000
Jorge Pineda (1879 - 1946) Untitled/Carabao signed and dated 1928 (lower right) watercolor on paper 10 1/2”x 7 1/2” (27 cm x 19 cm)
Leon Gallery
Mar. 03, 2018
Jorge Pineda (1879 - 1946) a.) Balintawak at Night b.) Houses in Balintawak
Est: ₱500,000 - ₱650,000
Jorge Pineda (1879 - 1946) a.) Balintawak at Night b.) Houses in Balintawak a.) signed and dated 1927 (lower right) b.) signed and dated 1931 (lower right) oil on canvas
Leon Gallery
Dec. 02, 2017
Jorge Pineda (1879-1946) Tirad Pass
Est: ₱800,000 - ₱1,040,000
Jorge Pineda (1879-1946) Tirad Pass signed and dated 1939 (lower right) oil on canvas 30” x 60” (76 cm x 152 cm)
Leon Gallery