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

                Mauro Malang Santos (1928 - 2017)

                Est: ₱10,000 - ₱13,000

                Purple Sun handsigned (lower right) serigraph, 79/227 12 1/2” x 10” (32 cm x 10 cm)

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

                Mauro Malang Santos (1928 - 2017)

                Est: ₱150,000 - ₱195,000

                Mauro Malang Santos (1928 - 2017) Abstraction signed and dated 24-X-05 (lower right) gouache on paper 11” x 9” (28 cm x 23 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

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

                Mauro Malang Santos (1928 - 2017)

                Est: ₱20,000 - ₱26,000

                Untitled handsigned (lower right) serigraph 28/187 14” x 12 1/4” (36 cm x 31 cm)

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

                Mauro Malang Santos (1928 - 2017

                Est: ₱20,000 - ₱26,000

                Untitled hand-signed and dated 1993 (lower right) serigraph, numbered 40/50 23 1/4” x 16 3/4”

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

                Mauro Malang Santos (1928 - 2017)

                Est: ₱20,000 - ₱26,000

                Mother and Child signed and dated 1992 (lower right) offset print 195/300 25 1/2” x 20” (64 cm x 51 cm)

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017) - Banana Series
                Sep. 09, 2023

                Mauro Malang Santos (1928 - 2017) - Banana Series

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

                Mauro Malang Santos (1928 - 2017) Banana Series signed and dated 1978 (lower right) gouache on paper 40" x 60" (102 cm x 152 cm) León Gallery wishes to thank the West Gallery for confirming the authenticity of this lot Mauro Malang Santos' Banana Series counts among the largest works by the artist to enter the Philippine art market. But beyond this impressive feat lies a kind of technical brilliance that Malang's paintings of plants and trees cheerfully exemplify. Malang's plants and trees sprouted on his canvas in the mid-1970s as a natural progression and elevation from the themes that had populated his art in the years prior. Previously, Malang had only relegated these lush vegetations in the background to support the integrity of the focal subject; they serve as enhancements for the landscapes of bustling barrios and busy towns, portraits of women vendors, and rows of ordinary houses, but are now the protagonists and "movers" of the composition. "Malang's obsessive urge to work in 'series' is probably dictated by the need for a visual fulcrum on which to anchor his ideas. In the Plants and Trees paintings, he has found an image worthy of his rich imaginings," writes in the catalog of his 1981 exhibition at the Museum of Philippine Art. This 1978 piece titled Banana Series captures Malang's invigorating pursuit to reanimate his creative play on figure-ground relationships and their playful interaction within the space of the composition. As Edilberto B. Bravo puts it in the book Hidden Treasures, Simple Pleasures, "urban shanties in signature Malang style become the background for this glorious rendering of a banana tree." The banana tree (an herbaceous flowering plant if one considers scientific accuracy)—with its gigantic, lush leaves rendered in Malang's trademark angular shapes and its luxuriant fruits and flowers signifying its sound growth and the fertility of the soil—serves as the most crucial element in the composition. While the background is permeated with a homogenous blue sky and crammed with monochromatic barong-barongs, the banana tree is highly distinguishable from the rest of the canvas due to its graphic depiction, effectively drawing the line between subject and background and veering the viewer's focus into the tree's radiant and varying colors. Thus, Malang's intention to elevate his plants and trees into the protagonist of his works during the mid to late 1970s is made evident. Furthermore, by situating a lofty and fruitful banana tree in the middle of the slums, Malang injects into a rather depressing subject an inherent optimism that immensely speaks of his gleeful disposition in life. "I guess I just happen to be one of the more fortunate ones," Malang said to Cid Reyes when interviewed in June 1985. “Siguro [dahil] masasaya ang kulay ko [Maybe because my colors speak of joy]. (Adrian Maranan)

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017) - Red Moon
                Sep. 09, 2023

                Mauro Malang Santos (1928 - 2017) - Red Moon

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

                Mauro Malang Santos (1928 - 2017) Red Moon signed and dated 2001 (lower right) oil on canvas 34" x 34" (86 cm x 86 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot Under the mentorship of cartoonist Liborio Gatbonton, Mauro Malang Santos honed his skills and ignited an enduring fascination with the realm of cartoon illustration. This pivotal experience planted the seeds of creativity within him and paved the way for his remarkable artistic evolution. These seeds would eventually bear fruit as Malang would leave the world of cartoons in an attempt to pave the way towards a unique practice. After a decade of prolific work in the realm of cartoons and illustrations, he embarked on a daring exploration of new artistic horizons. Guided by a desire for innovation and self-expression, he embraced elements of cubism and abstraction. Influenced by the likes of Picasso, Matisse, Manansala, and Ang Kiukok, Malang's later style became a tour de force that reshaped artistic conventions. This very style, exemplified by the particular piece in question, radiates a sense of generosity in its vivid imagery, expansive color palettes, and evocative representation of cultural identity. One could also argue that Malang’s experience in cartoons afforded him an eccentric sense of creativity to fuel his practice. This can be seen in his inventive way of approaching and expressing the various elements in his craft. This particular piece titled Blood Moon features a lunar eclipse emanating down on a town. Traditionally, most cultures view the appearance of a lunar eclipse as a bad omen. Who could blame them? Prior to our knowledge of how eclipses worked (or even the heliocentric model), the fact that the moon would turn into the shade akin to blood would undoubtedly be seen as ominous. Yet Malang’s work seemingly treats the phenomenon in a neutral and frank way. The eclipse is not seen as inherently ominous or beautiful but something natural: an approach that is decidedly more nuanced and complex. (Jed Daya)

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017) - Mag-Iina
                Sep. 09, 2023

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

                Est: ₱3,400,000 - ₱4,420,000

                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 confirming the authenticity of this lot When Mauro Malang Santos was just ten years old, he began receiving informal painting lessons from the classical realist painter Teodoro Buenaventura. Although he left the UP College of Fine Arts after just one semester, he continued to deepen his love and devotion for art. His artistic style and methods were shaped by his visits to museums in Japan, the United States, and Europe. He was part of the group of artists in his time who imbibed inspiration from folk art and whose works are distinguishable by geometric shapes, decorative forms, and festive colors. Some of his paintings are simplified figures of seated women, usually market vendors or mothers. Interestingly, Mauro Malang Santos used his mother’s maiden name to sign his works; hence, he became commonly known as Malang. The lot on hand features three mothers and three daughters; hence, the title is Magiina. He has done other works featuring a mother and child. To name a few, he made various oil on canvas works in 1980,1986 and 1994. He also worked with a mother and two kids in 1997. His numerous portrayals of a mother and child suggest that he understood that depicting motherhood evokes shared feelings of affection amongst Filipinos. What makes Magiina stand out is Malang's idea of featuring four generations of female figures with their children. Moreover, the word English translation, “mothers with their children,” does not encapsulate the same warm, profound feeling of the Filipino maternal bond when we hear the word Magiina. Indeed, Malang made warm-toned tints of pink, orange, and violet. etc, as the background for his three mothers and three children. These colors help evoke tenderness. A charming detail is how the three mothers have a little bun of hair on the top of their heads. The baby bundled in green fabric stands out against the white garments of her brown-haired kin — who may be the second set of mother and daughter. The black-haired woman in her pink and orange accented dress may be the eldest of them all; hence, she is the pinnacle of the triangle formed by the women. Overall, this lot exemplifies the whimsical side of Malang and his profound maternal appreciation. (Raphaela Cordero)

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017) - Barung-Barong
                Sep. 09, 2023

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

                Est: ₱500,000 - ₱650,000

                Mauro Malang Santos (1928 - 2017) Barung-Barong signed and dated 1980 (lower right) Tempera 20" x 20" (51 cm x 51 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot A pillar of Filipino Modernism, Mauro Malang Santos helped cultivate and develop the thriving visual arts landscape of the Philippines with the aid of his unique artistic practice. He was known to explore diverse themes, and the lot at hand shows one that draws inspiration from urban and rural realities. Also, the influence of cubism is observed in the simplified, geometricizing treatment of the barong-barongs.

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017)
                Jul. 29, 2023

                Mauro Malang Santos (1928 - 2017)

                Est: ₱160,000 - ₱208,000

                Flower signed and dated 1992 (lower right) gouache 9” x 12” (23 cm x 30 cm)

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017)
                Jul. 29, 2023

                Mauro Malang Santos (1928 - 2017)

                Est: ₱180,000 - ₱234,000

                Let There Be Light gouache on paper signed and dated 2005 (lower right) 12” x 20” (30 cm x 51 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017)
                Jul. 29, 2023

                Mauro Malang Santos (1928 - 2017)

                Est: ₱180,000 - ₱234,000

                Untitled gouache on paper signed and dated 2006 (lower right) 11 1/2” x 17 1/2” (29 cm x 44 cm) Accompanied by a certificate issued by West Gallery confirming the authenticity of this lot

                Leon Gallery
              • Mauro Malang Santos (1928 - 2017)
                Jul. 29, 2023

                Mauro Malang Santos (1928 - 2017)

                Est: ₱15,000 - ₱19,500

                Vendor- Special CCF Series II in Green hand signed and dated 2003 (lower right) serigraph, 28/50 16” x 14” (41 cm x 36 cm)

                Leon Gallery
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