Mauro Malang Santos Sold at Auction Prices

b. 1928 - d. 2017

Born in Santa Cruz, Manila in 1928, artist Mauro Malang Santos is best known for creating the popular comic strips Beelzebub and Kosme, the Cop, Retired. Forgoing a formal education in art after one semester, the artist went to work for a newspaper, apprenticing under cartoonist Liborio Gatbonton. Mauro Malang Santos' paintings were first shown, solo, at an exhibition in 1962. Two years later, the Society of Philippine Illustrators and Cartoonists made him Artist of the Year.

Later in his career, Santos expanded his interest in art. Cubism and abstract-modern portraits became the style and subject of Mauro Malang Santos paintings in the early 90s. Images of expressive female figures in poor parts of the Philippines, highlighted by ragged yet traditional clothing, were key features in Mauro Malang Santos' artwork. Bring a gorgeous beauty into your gallery by browsing arresting portrait paintings online at Invaluable.

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  • Mauro Malang Santos (1928 - 2017) - Mag-Iina
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - Mag-Iina

    Est: ₱4,000,000 - ₱5,200,000

    Mauro Malang Santos (1928 - 2017) Mag-Iina signed and dated 2000 (lower right) oil on canvas 30" x 30" (76 cm x 76 cm)   Accompanied by a certificate issued by West Gallery and signed by the artist confirming the authenticity of this lot Mauro Malang Santos’s evolution and development as an artist are apparent in his decades-long collection of works in varying mediums: oil, tempera, gouache, acrylic, watercolor, and charcoal. While Malang’s works focus on Filipinos at work and their daily lives, two particular images–either of them–never leave his masterpieces: plants and women.   Malang’s Mag-Iina presents a succeeding generation of mothers and daughters: the grandmother is at the center, and on both sides are her daughters, one of whom is holding a child of her own. With their big limbs and taut expressions–the usual face of Malang’s figures–the women are all facing front as if looking directly into the spectator’s eyes.   This 2000 oil on canvas piece illustrates Malang’s exceptional artistry, even after nearly five decades since his debut in the art scene. His palette and ingenious placement of colors made his figures stand out: the women dressed in white and set against a colorful background. The entirety of this painting radiates a sense of warmth and familiarity, mirroring the close familial relationships in Filipino culture. With this as an example, Malang’s works are indeed a vivid portrayal of Filipino culture and tradition.   Malang’s passion for his work is perhaps the most significant factor in his success. He enjoys what he is doing, and this joy is evident in his works. “I painted for the pleasure of painting,” he once said in a conversation with Cid Reyes. This enthusiasm and his unwavering artistry solidified his position in the Philippine art scene, making his canvases among the most sought-after works by a Filipino painter. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Five Women
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - Five Women

    Est: ₱1,700,000 - ₱2,210,000

    Mauro Malang Santos (1928 - 2017) Five Women signed and dated 1996 (lower right) oil on canvas 18" x 24" (46 cm x 61 cm)   Accompanied by a certificate signed by the artist confirming the authenticity of this lot In the 1990s, Mauro Malang Santos reached the peak of his career and more. The megastar of the Philippine art scene, as critic Cid Reyes described him, mastered multiple mediums, creating a kaleidoscope of works that depicted Filipino life and culture in a way that is equal part vibrant and local.   This 1996 piece features Malang’s signature big-limbed and geometric women. Standing shoulder to shoulder, these five women stand with their hands crossed over their laps as they stare balefully at the audience, with the woman standing in the center holding the shoulder of the child in front of her. Malang’s women occupy the majority of the space as they stand with their heads and shoulders almost brushing the edge of the canvas.   However, the focal point of this piece is the colors. Malang’s colors sing; though he had never dwelled on his color sensibilities, he had described it as largely instinctive. This intuitive approach to colors and palettes led to Malang’s exuberant painting style.   “There is no color he avoids, no hue or shade he cannot orchestrate in his palette,” Cid Reyes wrote in 1992.   In this piece, he strayed from his bold and bright colors into acidic ones. Battery yellow against highlights of pitch black and neon greens created a vibrant work that is equal parts nostalgic and futuristic. “Maturity, not age” is what he attributed to his exceptional growth and skills, and indeed, Malang’s persistent pursuit of his muse yielded to an illustrious career and a mastery of his craft, as evidenced by the lot in hand. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Mother and Child
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - Mother and Child

    Est: ₱400,000 - ₱520,000

    Mauro Malang Santos (1928 - 2017) Mother and Child dated 1995 (lower right) oil on canvas 9" x 23" (23 cm x 58 cm)   León Gallery wishes to thank West Gallery for confirming the authenticity of this lot   Like his contemporaries and their predecessors, Malang also explored the mother and child theme, infusing it with an essentially Filipino flavor. Malang’s “master colorist” reputation is once again manifested in this 1995 oil on canvas work. The figures, with their elongated necks, thick limbs, and taut expressions, are brought to life by the use of light, yellowish colors set against a monochromatic green background resembling leaves. The mother, carrying a basket of fruits while delicately holding her child, is a poignant representation of the Filipinos’ hardworking nature and deep familial affection. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Fruit Vendor
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - Fruit Vendor

    Est: ₱600,000 - ₱780,000

    Mauro Malang Santos (1928 - 2017) Fruit Vendor signed and dated 1997 (lower right) acrylic on wood 15" x 20 1/4" (38 cm x 51 cm)   Accompanied by a certificate issued by West Gallery and signed by the artist confirming the authenticity of this lot   “Like the megastar of Philippine show biz.” This was how the critic Cid Reyes described Mauro Malang Santos in the 1990s. “There is only one artist who, by popular acclaim remains… a number one,” he claimed.   Indeed, Malang’s career by this time has been sailing at an all-time high for four decades. He utilized different mediums, whether it be oil, charcoal, acrylic, or gouache, and handled it to a point of mastery. “It’s the handling that varies, and ako na lang ang nakakaalam kung ano ang diperensya, which one is more difficult,” he said, as recounted by Alya B. Honasan in Art Without Rules.   “Maturity, not age,” he added.   His 1997 Fruit Vendor had truly shown Malang’s maturity. The subject matter features one of Malang’s favorites: the woman and the Filipino. Here, he depicts his woman with his signature big limbs and big hands and big feet. She sits with her legs crisscrossed and in front of her are slices of watermelon. His women have served as an interesting and dramatic stud for him throughout the years with this 1997 work possessing some sort of attitude as she frets over her fruits. The woman’s cartoonish proportions take up the majority of the space, metaphorically and literally taking back the space she is denied, both socially and artistically. Like many of his women, Fruit Vendor’s titular vendor is unafraid to occupy both space and attention and she creates a world fashioned after the artist’s own work: angst-free and happy. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Red Landscape
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - Red Landscape

    Est: ₱3,000,000 - ₱3,900,000

    Mauro Malang Santos (1928 - 2017) Red Landscape signed and dated 1967 (lower right) oil on canvas 27" x 39" (69 cm x 99 cm)   Accompanied by a certificate issued by West Gallery for confirming the authenticity of this lot   Provenance: Private collection, Manila     The Inner City at Sunrise    The 1960s marked Malang’s rise to prominence with his celebrated barung-barong series. Characterized by his signature varying and overlapping geometric shapes overcrowding his canvas, this 1967 oil on canvas work reflects Malang’s early beginnings as a cartoonist. Moreover, this shows the artist’s gradual shift to abstraction, developing his own style.   Malang’s impressive colorwork has distinguished him among Filipino artists. Regarded as a master colorist by critics, colleagues, and clientele alike, Malang’s dauntless utilization of colors is on full display in this piece. With his red and black-dominated palette, Red Landscape reflects the rather dark and grim side of his famed barung-barong series, which usually sports a colorful, upbeat palette. These shabby, congested shanties depict city life’s relatively bitter and poor qualities, in contrast to the pastoral landscapes depicting the glorious countryside life.   Nevertheless, this piece is undeniably a Malang landscape—evident in his employment of space. “The format is generally restricted to an almost bilateral division of space: the city and the sky,” Juan Gatbonton’s description of Malang’s landscapes in Malang: Paintings and Drawings. “The city is depicted as a congestion of forms, densely packed and flattened out into interlocking patterns of color,” he added. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - a.) Still Life b.) Untitled c.) Woman Vendor
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - a.) Still Life b.) Untitled c.) Woman Vendor

    Est: ₱700,000 - ₱910,000

    Mauro Malang Santos (1928 - 2017) a.) Still Life signed and dated 1986 (lower right) gouache 13 1/2" x 11" (34 cm x 28 cm) b.) Untitled signed and dated 1986 (lower right) gouache 13 1/2" x 11" (34 cm x 28 cm) c.) Woman Vendor signed and dated 1985 (lower right) gouache 13 1/2" x 11" (34 cm x 28 cm)   León Gallery wishes to thank West Gallery for confirming the authenticity of this lot In the 1980s, even as the three-decade mark of his career rolled in, Mauro Malang Santos remained as passionate as ever. Starting his artistic venture as an illustrator, Malang’s sensitivity veered into the cartoonish and the bright, with his work eventually evolving into lyrical semiabstraction and beyond.   These three works encapsulate the epoch of Malang’s Filipino-ness. A self-taught artist, Malang’s metamorphosis from cartoonist to illustrator to painter signifies a turn to a true Filipino essence if there is one. His works have long since carried that Filipino stamp, with E. Aguilar Cruz stating in 1973: “[While] Malang’s art is as unlike those of the traditional schools represented by Amorsolo…they both bear the same stamp of that quality Filipino art lovers mean when they say ‘Filipino.’”   Malang’s in-depth understanding and masterful utilization of colors have earned him a reputation in the art scene as a “master colorist,” a nickname given to him by his peers, critics, and patrons. His art is distinguished by his fearless use of color, unafraid to incorporate any shade in his arbitrary geometric shapes and strokes but still able to depict and exude varying emotions. Consequently, despite its gem-toned quality, his canvases do not appear overwhelming to the eyes.   While these works lack the standard folk objects, Malang’s Filipino sensibility is still in full display three decades since his painting pivot — evident through his soft yet vibrant figures: flowers, women, and vendors. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Flowers
    Feb. 22, 2025

    Mauro Malang Santos (1928 - 2017) - Flowers

    Est: ₱160,000 - ₱208,000

    Mauro Malang Santos (1928 - 2017) Flowers signed and dated 1995 (lower right) gouache 14" x 11" (36 cm x 28 cm)   Accompanied by a certificate issued by West Gallery and signed by the artist confirming the authenticity of this lot As a predominantly Catholic country, the Philippines commemorates the founding of the Holy Cross through the Santacruzan, a procession involving personalities from the Bible, with Queen Helena at the end, holding the cross. Another event that coincides with this is the Flores de Mayo, honoring the Virgin Mary by offering prayers and flowers. Both occasions happen in May when the flowers are in abundance.   A Filipino through and through, Malang’s oeuvre never fails to epitomize the country’s rich culture and traditions. Painted in the month of the Flores de Mayo celebration, Malang’s Flowers are in full bloom. His mastery of gouache and cool-toned palette created an assemblage of beguiling flowers, all in great finesse. The artist’s haphazard but delicately layered brush strokes and eccentric splats of paint added a mysterious flair to his canvas, leaving his viewers in wonder and enchantment, alongside feeling a deep connection to the cultural significance of his art. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jan. 25, 2025

    Mauro Malang Santos (1928 - 2017)

    Est: ₱50,000 - ₱65,000

    UP Series signed and dated 2002 (lower right) mixed media 8” x 7 1/2” (20 cm x 19 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jan. 25, 2025

    Mauro Malang Santos (1928 - 2017)

    Est: ₱80,000 - ₱104,000

    Untitled signed (lower left) dated 1948 (lower right) ink on paper 12” x 10” (30 cm x 25 cm)   Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jan. 25, 2025

    Mauro Malang Santos (1928 - 2017)

    Est: ₱120,000 - ₱156,000

    Untitled signed and dated 1992 (lower right) gouache 8 3/4” x 6” (22 cm x 15 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Little Girl
    Nov. 30, 2024

    Mauro Malang Santos (1928 - 2017) - Little Girl

    Est: ₱7,000,000 - ₱9,100,000

    Little Girl signed and dated 1998 (lower right) oil on canvas 36" x 36" (91 cm x 91 cm) León Gallery wishes to thank West Gallery and signed by the artist confirming the authenticity of this lot In 1998, Mauro Malang Santos reached a zenith in his artistic career. From October 24, 1997 to January 20, 1998, the Metropolitan Museum of Manila held a retrospective showcase for the contemporary artist, showing about a hundred of his works dating from 1955 to 1997. The wide variety of his aesthetic style covered the walls of the Met, showing how truly voracious and mutable his designs were – from figurative to abstractive works, from his vividly bright works and his more muted formal experiments, Malang’s overflowing creativity could not be contained in an easily boxed style. And yet, despite these varying styles, Malang returns time and time again to his favored topics. His renowned barong-barongs and urban sceneries abound in his oeuvre, with his figures, done in his signature style of big feet and big hands and wide limbs, as recognizable as a fingerprint. “That’s a bad habit of mine. Hindi ko ma-sustain,” Malang says of his inconsistent art style and yet, it is this variety that launched Malang into critical acclaim, making sure he remains in the golden annals of Philippine art history. Little Girl was created in the same year as his retrospective exhibition In his distinctive wide-limbed fashion, he portrays two children hiding behind their mother who sitting in a chair with two puppies lying on their feet as they wait for their family to play with them. Typically Malang, every square inch of the piece is covered, either in vibrant shades of colors or elements, with the most distinctive of which is an exact near replica of the painting itself drawn in a smaller fashion hanging in the background. In this work, Malang shows off his impeccable understanding of colors as he washes the scene in various shades of reds and yellows and oranges. He is a true and passionate colorist, using in his works vibrant and colorful hues in a way that is cohesive rather than cluttered. “There is no color he avoids, no hue or shades that he cannot orchestrate in his palette,” Cid Reyes writes in Malang’s monograph. Indeed, Little Girl is an indubitable proof of Malang’s excellence and his ability to handle his unorthodox palette.

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - a) Vendor b) Farmer
    Nov. 30, 2024

    Mauro Malang Santos (1928 - 2017) - a) Vendor b) Farmer

    Est: ₱200,000 - ₱260,000

    a) Vendor signed and dated 1957 (left) acrylic on board 8 3/4” x 3 1/4” (22 cm x 38 cm) b) Farmer signed and dated 1956 (left) acrylic on board 8 3/4” x 3 1/4” (22 cm x 38 cm) León Gallery wishes to thank West Gallery and signed by the artist confirming the authenticity of this lot Mauro “Malang” Santos is a painter, illustrator, and one of the most celebrated Filipino figurative artists. He creates canvases that burst with life, devoid of the depressing tones surrounding the Philippines during his lifetime. Malang’s pieces, known for their bold colors and overlapping geometric shapes, feature Filipinos at work and in their daily lives. He is a master colorist who, with his dauntless color palette and unparalleled brushwork, successfully presents in his pieces the microcosm of Philippine life and culture. Both made with acrylic on board, the paintings at hand showcase Malang’s humble beginnings as a painter. Vendor (1957) and Farmer (1956) offer images of archetypal scenarios in the native folks’ neighborhoods: a woman vendor roaming the streets to sell her products and a farmer aboard his carabao while doing farmwork. Significantly manifested in these early works is Malang’s expertise in color. Here, the artist used solid, muted colors to create his figures and separate them from one another. Behind the vendor are lines of dried tree branches against a calming blue sky. On the other hand, the farmer’s back is adorned with barung-barongs in vibrant blue hues, one of the would- be distinctive elements of Malang’s art. Having worked for magazines early in his life, Malang is adept at layout and design and has received numerous awards in these categories. He was also a cartoonist and made illustrations for several comic publications. Furthermore, he held a number of solo and group exhibitions, including a few three-man shows with his sons Steve and Soler. In 1981, the Museum of Philippine Art organized a retrospective exhibit encompassing Malang’s 25-year history and legacy in the art scene. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Woman Vendor
    Nov. 30, 2024

    Mauro Malang Santos (1928 - 2017) - Woman Vendor

    Est: ₱200,000 - ₱260,000

    Woman Vendor signed and dated 1995 (lower right) gouache 11" x 8" (28 cm x 20 cm) Accompanied by a certificate issued by West Gallery and signed by the artist confirming the authenticity of this lot Woman Vendor carries Malang’s distinctive vivid hues and overlapping geometric forms. With blues and yellows dominating his color palette, this 1995 gouache painting depicts a woman—a recurring image of a Malang piece— surrounded by candles she’s selling. Described by critics as a proficient colorist, he is not afraid of incorporating any color in his palette nor finding it hard to orchestrate it in his paintings. A master colorist with exceptional brushwork, Malang perfectly encapsulates the conscientious and rich Philippine life and culture in his canvases. Another quality of his works is that they don’t require a lot of thinking and seeking for meaning; he makes his paintings to be interpreted literally. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Oct. 26, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱120,000 - ₱156,000

    Plants signed and dated 1982 (lower right) gouache 11 3/4" x 8 1/2" (30 cm x 22 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Oct. 26, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱180,000 - ₱234,000

    Three Bottles signed and dated 17-II-99 (lower right) gouache 10 1/2" x 14" (27 cm x 36 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot PROVENANCE West Gallery

    Leon Gallery
  • PROPERTY FROM THE LORNA REVILLA MONTILLA COLLECTION Mauro Malang Santos (1928 - 2017)
    Oct. 26, 2024

    PROPERTY FROM THE LORNA REVILLA MONTILLA COLLECTION Mauro Malang Santos (1928 - 2017)

    Est: ₱80,000 - ₱104,000

    Untitled signed and dated 17-I-79 (lower right) watercolor on paper 9 1/4" x 10 1/2" (23 cm x 27 cm) P 80,000 León Gallery wishes to thank the W est Gallery for confirming the authenticity of this lot

    Leon Gallery
  • PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Mauro Malang Santos (1928 - 2017)
    Oct. 26, 2024

    PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Mauro Malang Santos (1928 - 2017)

    Est: ₱10,000 - ₱13,000

    Untitled hand-signed (lower right) print 25/261 12" x 15" (30 cm x 38 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Tattoo
    Sep. 14, 2024

    Mauro Malang Santos (1928 - 2017) - Tattoo

    Est: ₱10,000,000 - ₱11,000,000

    Mauro Malang Santos (1928 - 2017) Signed and dated '28.IX.98' (1998, lower right) Oil on canvas 91.4 x 91.4 cm (36 x 36 in)

    Salcedo Auctions
  • Mauro Malang Santos (1928 - 2017) - Woman
    Sep. 14, 2024

    Mauro Malang Santos (1928 - 2017) - Woman

    Est: ₱14,000,000 - ₱15,000,000

    Mauro Malang Santos (1928 - 2017) Signed and dated '15.V.92' (1992, lower right) Oil on canvas 129.5 x 94 cm (51 x 37 in) This rare and distinguished 1992 oil on canvas by the eminent modernist Mauro Malang Santos presents a compelling depiction of a woman, presumably a flower vendor, adorned in traditional Filipiniana attire. The artwork exemplifies Malang's signature approach to color and composition, illustrating his distinctive artistic style and vision. The subject is portrayed with a serene countenance, holding a bouquet of flowers from her basket with grace. Her poised posture and tranquil demeanor reflect an inherent sophistication. Malang's skillful use of vibrant and subdued hues, juxtaposed with bold, expressive lines, creates a dynamic contrast between the flowers' vividness and the intricate details of her traditional garments, thereby enhancing the overall aesthetic impact of the piece. The composition of the artwork reveals the influence of cubist principles, evident in the symmetrical and balanced arrangement of the butterfly sleeves and the central figure's form. The geometric structures contribute to a harmonious composition, demonstrating Malang's adeptness at integrating traditional themes with modernist techniques. This piece underscores Malang's capacity to convey the essence of Filipino culture through a contemporary lens. The rich color palette and thoughtful composition animate the scene, providing insight into the everyday beauty and simplicity of Filipino life. By synthesizing traditional and modern elements, Malang pays homage to the grace and dignity of his subject, rendering this work a noteworthy testament to his artistic legacy.

    Salcedo Auctions
  • Mauro Malang Santos (1928 - 2017) - a.) Woman Kneeling b.) Untitled c.) The Green Sleeves
    Sep. 14, 2024

    Mauro Malang Santos (1928 - 2017) - a.) Woman Kneeling b.) Untitled c.) The Green Sleeves

    Est: ₱5,000,000 - ₱6,500,000

    PROPERTY FROM THE PRISCILLA L. CHIONGBIAN COLLECTION a.) Woman Kneeling signed and dated 1977 (lower right) tempera 29 1/2” x 19 1/2” (75 cm x 50 cm) b.) Untitled signed and dated 1977 (lower right) tempera 29 1/2” x 19 1/2” (75 cm x 50 cm) c.) The Green Sleeves signed and dated 1977 (lower right) tempera 30” x 20” (76 cm x 51 cm) León Gallery wishes to thank the West Gallery for confirming the authenticity of this lot PROVENANCE Museum of Philippine Art WRITE UP The Women of Malang Embodying the Native Essence An exhibition held by the Museum of Philippine Art in 1981 showcased Mauro Malang Santos’s 25-year history and legacy in the art scene. This event highlighted Malang’s evolution and development as an artist, from a former cartoonist to one of the most celebrated painters of his time. Malang’s art is distinguished by his fearless use of color, which sets him apart as a professional colorist. His figures, brought to life by his skillful use of contrasting and varying colors, stand out as a testament to his proficiency. His belief in perfecting one image before moving on is evident in his works, where a recurring image of a woman with oversized, ovoid-shaped sleeves and craned and giraffelike necks is featured. ABOVE: Malang in his studio © Instagram, Malang Santos Archives Malang’s mastery of his female images is seen in this lot, which consists of three 1977 paintings of women: a.) Woman Kneeling, b.) an untitled work, and c.) The Green Sleeves. All three were done with tempera, a medium of the artist’s expertise, and with the same composition: geometric shapes filled with solid colors and blue for the background. Also noticeable is his portrayal of Filipino women by dressing his figures in traditional Filipino clothing–Filipiniana–with huge sleeves, manifesting culture and tradition. Another thing about him is that his works don’t require a lot of thinking and seeking for meaning. He does his paintings to be interpreted literally—what you see is what you get—just like these paintings on hand. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Plants
    Sep. 14, 2024

    Mauro Malang Santos (1928 - 2017) - Plants

    Est: ₱200,000 - ₱260,000

    Plants signed and dated 1982 (lower right) 14” x 17” (36 cm x 43 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot WRITE UP From the 1970s to the 1980s, the Philippines was characterized by political unrest and a national struggle to survive. But Malang’s works focus on plants, landscapes, and mythic images of people’s daily lives, completely devoid of the agitation and turmoil experienced by the masses. Despite the new styles and methods of expression that emerged during these years, Malang continued with his signature style of creating his subjects using a variety of overlapping geometric forms and sizes. Color has always been a primary force in Philippine aesthetics. Malang was one of the master colorists who exhibited his proficiency in using a variety of tints and shades to manifest the Philippine landscape and everyday life. This burst of color is evident in this lot—a painting of flora, one of the artist’s identifiable subjects. Just like most of his works, Malang used a solid color for his background and added a variety of brush strokes and geometric shapes to create an image. From afar, this 1982 painting can look like a watercolor painting due to the artist’s choice of light palette. However, Plants was made with gouache; upon closer inspection, viewers can see its more solid and opaque quality. Consequently, the palette and style Malang used in this work made his subject stand out, and the entirety of it radiates a sense of serenity—the opposite of what the Filipinos felt during those dark times. (Jessica Magno)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Barung-Barong
    Sep. 14, 2024

    Mauro Malang Santos (1928 - 2017) - Barung-Barong

    Est: ₱200,000 - ₱260,000

    Barung-Barong signed and dated 1982 (lower right) Tempera 17” x 13 1/2” (43 cm x 34 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot WRITE UP The Barung-Barong has been a quintessential part of Mauro Malang Santos’s oeuvre. The majority of Philippine artists depicting the shanty urban house as a view of poverty with its “rusty tin and singles used for sidings and roof,” as said by critic Alfredo Roces, Malang’s angst-free depiction stood out. This jovial depiction of the Barung-Barong is evident in his 1982 work. Aptly titled Barung Barong, Malang’s sensibility in colors revitalizes the otherwise crowded houses. Loading the canvas in vibrant reds and warm colors, Malang’s barung-barong symbolizes resiliency and joy. The work’s vividness also highlights his innate understanding of colors and hues. “There is no color he avoids, no hue or shade that he cannot orchestrate in his palette,” says Cid Reyes. Indeed, the buoyancy with which he imbues Barung Barong truly emphasizes Malang’s luxuriantly dramatic colors; the piece seems to glow lush and capricious even as he depicts what others perceive as derelict. Indubitably Filipino in essence, Barung-Barong chooses to focus on the triumphant resolution of the people’s oft-difficult lives, highlighting the pleasure inherent in the Filipino that is central to many of Malang’s works, Barung-Barong included. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱220,000 - ₱286,000

    Sun Series IV signed and dated 1984 (lower right) gouache 9" x 12" (23 cm x 30 cm) PROVENANCE West Gallery

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱220,000 - ₱286,000

    Five Women signed and dated 2002 (lower right) gouache 8 1/2” x 8 1/2” (22 cm x 22 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱150,000 - ₱195,000

    Women signed (lower right) oil on canvas 12" x 15 1/2" (30 cm x 39 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱70,000 - ₱91,000

    Untitled dated 1948 signed (lower left) ink on paper 13" x 10" (33 cm x 25 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱50,000 - ₱65,000

    Bunso signed and dated 2002 (lower right) mixed media 8" x 5 1/2" (20 cm x 14 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱60,000 - ₱78,000

    Untitled signed and dated 1976 (lower right) charcoal on paper 18 1/4" x 24" (46 cm x 61 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱70,000 - ₱91,000

    Plant Series signed and dated 1976 (lower right) charcoal on paper 10" x 13" (25 cm x 33 cm) EXHIBITED Museum of Philippine Art, Malang: Paintings and Drawings, Manila, 12 March - 21 May 1981

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱130,000 - ₱169,000

    a.) Carabao signed and dated 1957 (lower right) acrylic on board 14” x 3” (36 cm x 8 cm) b.) Carabao signed and dated 1957 (lower left) acrylic on board 14” x 3” (36 cm x 8 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱30,000 - ₱39,000

    Early Work signed and dated 1967 (lower right) serigraph 120/184 15” x 18” (38 cm x 46 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jul. 27, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱35,000 - ₱45,500

    Cityscape signed (lower right) serigraph A/P 9 3/4" x 11 1/2" (25 cm x 29 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Vendor
    Jun. 08, 2024

    Mauro Malang Santos (1928 - 2017) - Vendor

    Est: ₱4,000,000 - ₱5,200,000

    PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Vendor signed and dated 1973 (bottom) oil on wood panel 32" x 32" (81 cm x 81 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot PROVENANCE: Private collection, Manila Malang’s Maiden From the Artist’s High-Spirited ‘70s Malang's art is a vibrant celebration of everyday life, rural folk, and, by extension, the Filipino spirit. Unlike other artists who infuse their depictions of common folk with a stark and almost unyielding sense of reality. Malang's work radiates with joy and vitality. Malang's career began in the world of Komiks. Among his first forays into the world of art can be credited to when he joined the art department of the Manila Chronicle. He created the popular comic strip "Kosme the Cop, Retired" and was also behind the beloved character "Chain-Gang Charlie." His work in comic strips and cartoons earned him widespread recognition and laid the groundwork for his later success as a fine artist. In the 1960s, Malang shifted his focus from commercial art to painting. He founded the Bughouse, a gallery and studio in Manila, which became a hub for contemporary Filipino artists. His paintings, known for their bold use of color and geometric abstraction, often depicted scenes of rural and urban Philippine life. But it was in the 1970s that Malang’s signature style truly blossomed into what he is known and remembered for today. This piece titled “Vendor” is a prime example of his iconic portrayals of everyday life. In this painting, Malang captures the essence of a woman from among the masses, her elegantly long neck exuding composure amidst a world of colorful wares in bright hues. While the woman remains recognizable, Malang's abstraction of her form ventures into new realms of reality. His constitutive shapes explore new forms, offering viewers a fresh perspective on the familiar. Malang's art reminds us that reality is not confined to appearances alone; it is felt and imagined. His originality lies in his ability to combine familiar elements in new and unexpected ways, inviting viewers to see the world through a different lens. (Jed Daya)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Vendor
    Jun. 08, 2024

    Mauro Malang Santos (1928 - 2017) - Vendor

    Est: ₱400,000 - ₱520,000

    Vendor signed and dated 1977 (lower right) acrylic on paper 30" x 20" (76 cm x 51 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot The cartoonist background of Mauro Malang Santos is evident all throughout his oeuvre. He created Kosme, the Cop (Retired) back when he was still working under the Manila Chronicles, the first daily comic strip in the Philippines written in the English language. Under the same newspaper was then-Manila Chronicles editor H.R. Ocampo, who encouraged Malang to pursue painting, a career path Malang only took seriously in 1967 following his first one-man show at the Luz Gallery. In 1981, a Malang exhibition held at the Museum of Philippine Art showcased his works for the past five years. Director Arturo Luz wrote in the introduction of Malang: Paintings and Drawings: “In the last five years, [Malang] has clearly revealed a growing sense of scale, scope, and expressiveness. While the subjects remain familiar, the paintings have increased in size and expressive force.” Falling under this five-year period of growth is the lot in hand, a 1977 untitled piece. Women had been a constant muse for Malang. Here, we can see that Malang’s cartoonist background is evident – the woman at the center poses with her hands crossed over her lap. The cartoonish disproportion of her body is blown up to a dramatic degree, with her head shaped into a triangle, her neck elongated, and her butterfly sleeves occupying more than half of the canvas. There is humor to the painting, a tinge of the kengkoy comedy of a cartoon as the woman beams at someone off the canvas. It is very Filipino in character, his paintings uncomplicated in their festivity and straightforward in their depiction of Filipino culture. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Apr. 20, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱50,000 - ₱65,000

    Untitled signed and dated 1992 (lower left) ink on paper (drawn on Malang: Vendors & Cities book page)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Kambal
    Mar. 09, 2024

    Mauro Malang Santos (1928 - 2017) - Kambal

    Est: ₱400,000 - ₱520,000

    Kambal signed and dated 1996 (lower right) oil on canvas 11" x 11" (28 cm x 28 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot WRITE UP: “Just to master one subject or medium can take a lifetime,” says Mauro Malang Santos and one look at his oeuvre proves his belief in his maxim. His canvases feature a montage of Filipino culture, repeating throughout his career. The lot at hand, entitled Kambal (1996), joins the ranks of one of his favored muses – women. A constant muse from childhood to canvas, Malang’s women are immortalized through a multitude of paintings. Kambal follows the usual depiction of his female subjects– dramatized with their big feet and big hands and pinpricks for eyes. A mother holds her twins on her knee, hands wrapped protectively over her children. In the same year as the creation of Kambal, critic Rod Paras-Perez described Malang’s brushwork as “intimate…with a measured sense of order.” Kambal showcases Malang’s impeccable sense of control – his definite strokes and melodic relationship with colors give the piece his signature painterly charm – a quaint outlook of the Philippines’s folk scenery. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Family
    Mar. 09, 2024

    Mauro Malang Santos (1928 - 2017) - Family

    Est: ₱7,000,000 - ₱9,100,000

    Family signed and dated 1999 (lower right) oil on canvas 36" x 60" (91 cm x 152 cm) León Gallery wishes to thank the West Gallery for confirming the authenticity of this lot PROVENANCE Acquired directly from the artist WRITE UP: Ever the evolving artist, Mauro Malang Santos is noted for his distinctive and varying styles. Self-aware with his limited attention span, his differing aesthetic output is perhaps Malang’s best selling point. “I certainly do not regard myself as a ‘thinking’ painter. … I wouldn’t know how to justify why I paint the way I do. There are no ‘messages’ in my paintings.” he said in an interview with Cid Reyes. The end result is an emotion-driven oeuvre that is sure to evoke a deep-seated intensity from its viewer. However, this lack of a uniform style does not mean Malang lacks discipline in his craft. “I do not believe in doing different subjects just for the sake of changing subjects,” he said in the same interview. “I think you have to master one image, one form.” And commit to one image Malang does. Multiple depictions of barung-barong, flowers, and landscapes occupy his canvases and with the lot at hand, the muse that Malang depicts are women. A child in the 1930s, it was common for a young Malang to encounter women going about their way in their butterfly-sleeved dresses. It was a crossroad of tradition and modernism and Malang’s women recalled the traditionality of the early 1900s while embodying the modernity of his times. In this 1999 work, three figures – all big feet and big hands and pinpricks for eyes as is common with Malang’s dramatizations – sat shoulder to shoulder; one figure held a toddler on her lap while another had a child clinging to her skirts. Malang shows off his cunning relationship with colors – deep blues undercut with vibrant reds and rich greens. “There is no color he avoids, no hue or shades that he cannot orchestrate in his palette,” Cid Reyes writes and the lot at hand is an indubitable proof of Malang’s unorthodox palette and headstrong character. (Hannah Valiente)

    Leon Gallery
  • Mauro (Malang) Santos (Filipino, 1928-2017) In Bloom, 1993
    Mar. 07, 2024

    Mauro (Malang) Santos (Filipino, 1928-2017) In Bloom, 1993

    Est: $4,000 - $6,000

    Mauro (Malang) Santos (Filipino, 1928-2017) In Bloom, 1993 gouache on paper signed Malang and dated (lower right) 10 1/2 x 14 inches. Property from a Private Collection Provenance: The Studio of the Artist The Luz Gallery, Manila, Philippines

    Hindman
  • Mauro Malang Santos (1928 - 2017)
    Jan. 20, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱15,000 - ₱19,500

    Banana signed and dated 1999 (bottom) serigraph 21/50 10 3/4" x 10 3/4" (27 cm x 27 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jan. 20, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱100,000 - ₱130,000

    Carroza signed and dated 8.IX.1980 (lower right) gouache on paper 19 1/2" x 19 1/2" (50 cm x 50 cm) León Gallery wishes to thank West Gallery for confirming the authenticity of this lot.

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jan. 20, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱40,000 - ₱52,000

    Untitled signed and dated 18-VII-1998 (lower right) charcoal on paper 6" x 9 1/4" (15 cm x 23 cm) León Gallery wishes to thank West Gallery for confirming the authenticity of this lot.

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Jan. 20, 2024

    Mauro Malang Santos (1928 - 2017)

    Est: ₱25,000 - ₱32,500

    Untitled signed and dated 1979 (lower right) pen and ink on paper 11" x 8 1/2" (28 cm x 22 cm) León Gallery wishes to thank West Gallery for confirming the authenticity of this lot.

    Leon Gallery
  • Mauro Malang Santos (1928-2017) - Four Seasons (Quadriptych)
    Dec. 02, 2023

    Mauro Malang Santos (1928-2017) - Four Seasons (Quadriptych)

    Est: ₱2,400,000 - ₱3,120,000

    Four Seasons (Quadriptych) signed and dated 1994 (lower right) oil on canvas 22” x 18” (56 cm x 46 cm) each 44” x 36” (112 cm x 91 cm) overall Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot PROVENANCE: León Gallery, The Kingly Treasures Auction 2017, December 2, 2017, Lot 105 WRITE UPMauro Malang Santos is upfront with his limited formal education. Aside from the childhood drawing lessons he took from artist Teodora Buenaventura and a semester at the University of the Philippines College of Fine Arts, the bulk of his “lessons” came from his career as a cartoonist at the Manila Chronicle, or what he calls his “Chronicle College.” Under cartoonist Liborio “Gat” Gatbonbon’s tutelage, Malang went on to create the first English comic stip in the Philippines entitled Kosme, the Retired Cop. Further into his career as a cartoonist, Malang started painting vignettes of Manila under the encouragement of then-editor and another “professor” of his at his Chronicle College H.R. Ocampo. Starting with colorful folk depictions, Malang’s later works eventually matured to a more abstract form with his attention focused on the lighter livelier aspects of Filipino life. Malang has a special affection for floral sceneries as shown in his works. In his abstractionist form, Malang transforms a simple still life into a joyous celebration of life as displayed with this lot in hand. As Leonidas V. Benesa stated in 1974, “[The flowers] occupy the foreground as the centers of interest, blooming right into one’s face and consciousness, like large Chagall bouquets. The paintwork is thick and dense, though also delicate, and all four panels of the quadriptych stroke the eye somewhat as the power and complexity of musical chords in music do to the ear.” Twenty years later, Benesa’s observation about Malang is still applicable as displayed with this colorful quadriptych from 1994 Untitled (The Jubilee Quadriptych. Untitled (The Jubilee Quadriptych) features four distinct paintings that create a coherent story when viewed together. All four paintings are a testament to Malang’s mastery in technique, color, and form A prolific and celebrated artist, Malang won awards in the annual art competitions of the Art Association of the Philippines, Society of Philippine Illustrators and Cartoonists, and the Art Directors Guild. He was among the Ten Outstanding Young Men awardees in 1963 , the Gawad CCP Para Sa Sining awardee in 1995, and an awardee of the Patnubay ng Sining at Kalinangan award from the City of Manila in 1981. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - Escapulario
    Dec. 02, 2023

    Mauro Malang Santos (1928 - 2017) - Escapulario

    Est: ₱700,000 - ₱910,000

    PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Escapulario signed and dated 1967 (lower right) acrylic on canvas 20” x 20” (51 cm x 51 cm) EXHIBITED The Luz Gallery, 45-Piece One-Man Exhibit, Makati, November 21 - December 5, 1967 LITERATURE Araneta, Antonio S., ed., 1030 R. Hidalgo: Volume II, Legacy in Art. Manila: Mara, Inc., 1986. Full-color photograph and painting description on page 147. Roces, Alfredo, Mauro Malang Santos, and Eric Torres. The Art of Malang: Commentaries by Alfredo Roces and Eric Torres. Makati: Luz Gallery, 1967. Published on the occasion of Malang’s exhibition, 45-Piece One-Man Exhibit, at The Luz Gallery from November 21 to December 5, 1967. Black-and-white photograph on page 6. WRITE UPEscapulario encapsulates a profound shift in Malang’s art and career during the 1960s. For a person who originally started as a prolific cartoonist (Malang was the genius behind the first English daily comic strip, “Kosme, the Cop, Retired,” for The Evening Chronicle.), Malang would gravitate towards serious painting in the late 1960s, formally presenting his first set of serious works at his landmark sophomore exhibition in 1967 at The Luz Gallery: “45-Piece One-Man Exhibit,” in which the work at hand was showcased. Malang’s said exhibition at the Luz Gallery signaled his triumphant coming-of-age, his emergence as an artist to be reckoned with. In a June 1985 interview (which would eventually be published in the landmark book Conversations on Philippine Art), art critic Cid Reyes asked Malang: “You were originally better known as a cartoonist. Doesn’t this background prejudice people from accepting you as a serious artist?” Malang answered: “In some ways, yes. To some people, I’m still a cartoonist. But I just keep on painting. Actually, I’m a late starter. I started doing serious painting only in 1967 when I had a one-man show at The Luz Gallery. [Actually,] my first one-man show was at the Philippine Art Gallery, but they were semi-cartoons that served as a transition between my cartooning and serious painting. But cartooning helped me a lot. I developed control of my hand and developed my own way of thinking.” Eminent art critics Alfredo Roces and Eric Torres gave valuable insights into Malang’s Luz Gallery show and his artistic evolution. In his essay Into New Country, Roces succinctly tells of Malang’s progression as an artist, from his humble beginnings as a prolific cartoonist to the serious painter he became in the 1960s, fostering a style he would be mainly known for throughout his career. “When he first began, he was a cartoonist and illustrator,” Roces writes. “Malang then took to lighthearted social commentary, portraying cartoon like figures in the midst of city bustle. Soon enough, the cartoon-like figures evolved into stylized human forms, with their faces adorned only with eyes, while the backgrounds showed the clutter and the tempo of city life.” However, the late 1960s showed Malang beginning to explore abstraction, albeit retaining that child-like naivety of his cartoonist heydays, as seen in Escapulario. Present in his new style is a profound elaborateness of different elements and a flattened perspective that allows for a more heightened exploration of ornamental design, fostering his highly imaginative sense of color and the exuberant intricacy he had started to employ. There is a convolution of elements. Yet, due to his design instincts, Malang situates them in an orderly manner. (Malang was actually dapper in appearance. “Everytime I’m introduced to people, they say things like, “Malinis ang suot mo, wala kang bigote, hindi mahaba ang buhok mo, wala kang hikaw,” says the artist to Cid Reyes.) Roces continues: “Malang’s vignettes then progressively mellowed into more serious paintings of squatters’ shanties and rural scenes. At times, they were playful and cartoon-like, with simple colors and many playful situations depicted. At other times, the work turned closer to abstract arrangements of rectangular shapes and textural play, the barong-barong clutter and pattern serving as the setting. Malang, during this period, showed some influences of Luz in the depiction of the figure. There was much interest in the effects of sponge patterns, and even collage…” Torres also describes Malang’s maturity. “He is painting larger pictures and depopulating them. He is becoming increasingly abstract, less anecdotal, but more gorgeously decorative. One can make out familiar objects, mostly landscapes and architectural subjects…He still uses bright, fiesta colors that should please his old fans; but he is also now discovering the richness of a color scheme based on sepias, ochres, dark browns, greens, and black for “nocturnal” scenes that might win him new fans.” (Adrian Maranan)

    Leon Gallery
  • Mauro Malang Santos (1928-2017) - Kambal
    Dec. 02, 2023

    Mauro Malang Santos (1928-2017) - Kambal

    Est: ₱600,000 - ₱780,000

    Kambal signed and dated 1999 (lower right) oil on canvas 12” x 12” (30 cm x 30 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot WRITE UPMauro Malang Santos belongs to the group of artists whose works take inspiration from folk art. Characterized by simplified figures, geometric shapes, and festive colors, Malang finds inspiration in the common Filipino life in the big city. Though his works eventually evolved in a more mature abstract figurative style, his penchant for capturing the Filipino remains in his use of warm colors, modernist sensibilities, and traditionalist imagery. This 1999 work entitled Kambal follows Malang’s affinity for painting Filipino women later in his career. Colored in warm, resplendent hues, the titular kambal or twins take the center stage, dressed in bright clothes and holding children of their own. They are huddled together, mother to child and sister to sister, a testament to Malang’s expertise in anything Filipino. Malang had no formal artistic education except for drawing classes from an artist in his neighborhood and a semester of classes at University of the Philippines College of Fine Arts. Instead, his art style was cultivated through years of work as a cartoonist for the Manila Chronicles, where he had cartoonist Liborio “Gat” Gatbonton and artist H. R. Ocampo, then one of the paper’s editors, as mentors. The City of Manila bestowed him the honor of receiving the Patnubay ng Sining at Kalinangan award in 1981 and his steadfast commitment to the arts influenced generations of artists to come. (Hannah Valiente)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017) - White Moon
    Dec. 02, 2023

    Mauro Malang Santos (1928 - 2017) - White Moon

    Est: ₱160,000 - ₱208,000

    White Moon signed and dated 24·V·90 (lower right) gouache on paper 12” x 8 3/4” (30 cm x 22 cm) León Gallery wishes to thank West Gallery for confirming the authenticity of this lot PROVENANCE: Private collection, USA WRITE UPMauro Malang Santos’s brief stint with formal artistic training began when he took drawing lessons as a child from artist Teodoro Buenaventura. It ended after a semester at University of the Philippines School of Fine Arts. His true university, he says, is his career as a cartoonist at the Manila Chronicle “Diyan ako grumaduate sa Chronicle ‘College’ eh,” Malang said in an interview. “Wala naman akong schooling, at diyan naman ako natuto.” Though he initially gained renown through his cartoons, Malang eventually set forth to paint in the modernist method. His usual subjects are from the realities of urban life though, as shown by this 1990 White Moon, he does not shy away from still life illustrations. Malang’s still life paintings, far and few they may be, are bursting with colors and personality. As painter and critic E. Aguilar Cruz wrote, “While Malang’s art is as unlike those of the traditional schools represented by Amorsolo as a straight line is from a scroll… they both bear the same stamp of that quality.” (Hannah Valiente)

    Leon Gallery
  • Michael Cacnio (b. 1969) X Mauro Malang Santos (1928 - 2017)
    Oct. 21, 2023

    Michael Cacnio (b. 1969) X Mauro Malang Santos (1928 - 2017)

    Est: ₱300,000 - ₱390,000

    Red Heart (Interaction with Mr. Mauro Malang Santos) signed and dated 2009 brass 22 1/2” x 24” x 12 (57 cm x 61 cm x 30 cm) Red Heart signed and dated 8-III-07 (lower right) oil on canvas 12” x 9” (30 cm x 23 cm)

    Leon Gallery
  • Mauro Malang Santos (1928 - 2017)
    Oct. 21, 2023

    Mauro Malang Santos (1928 - 2017)

    Est: ₱100,000 - ₱130,000

    Woman Vendor signed and dated 1996 (lower right) oil pastel 9 1/2” x 12 1/4” (24 cm x 31cm)   Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

    Leon Gallery
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