Romeo Tabuena Paintings & Artwork for Sale | Romeo Tabuena Art Value Price Guide

Jan. 25, 2025
Romeo Tabuena (1921- 2015)
Est: ₱20,000 - ₱26,000
Mother and Child signed and dated 1954 (lower right) watercolor on paper 22" x 16" (56 cm x 41 cm)
Leon Gallery
Dec. 08, 2024
ROMEO VILLALVA TABUENA (FILIPINO, 1921-2015).
Est: $600 - $900
'Two Women', 1960. Acrylic on card. Signed and dated lower left. Property from a Manhattan, NYC estate. Dimensions: 8.75" h x 12.125" w. Frame: 15.75" h x 19.25" w.
Clarke Auction Gallery
Nov. 30, 2024
Romeo Tabuena (1921 - 2015) - Carabao
Est: ₱380,000 - ₱494,000
Carabao signed and dated 1966 (lower left) acrylic on board 16 1/2" x 22 1/2" (42 cm x 57 cm) PROVENANCE: Private collection, USA Despite moving to San Miguel de Allende, Mexico for more than a decade by then, Romeo Tabuena’s Filipino roots and style are still evident in his 1966 Carabao. Recalling his style prior to his move to Mexico (which turned into prismatic, jewel-toned works that show his Cubistic inspirations), Carabao boasts of a darker palette, the figures on his canvas looser and more fluid than his harshly separated Cubistic pieces. These three dark-skinned figures meander through the fields, with the man steering three carabaos into the pasture for feeding. It is near-monochromatic with only the bright yellow and red of the figure’s dress breaking the sepia overtone of the piece, a glimpse of Tabuena’s proletarian leanings, both from the Philippines and Mexico. Carabao displays the artist’s penchant for fragmentation, deconstruction, and reconstruction, as befits a NeoRealist who found himself aligned with the likes of Legaspi, Manansala, and many others. Despite his physical distance from his homeland, Tabuena continues to pay homage to it, displaying his profound and ingrained connection to his fellow countrymen who share a common strain of struggles and trials even from across the seas. (Hannah Valiente)
Leon Gallery
Nov. 30, 2024
Romeo Tabuena (1921 - 2015) - White Rooster
Est: ₱450,000 - ₱585,000
White Rooster signed and dated 1967 (lower left) acrylic on board 30" x 22" (76 cm x 56 cm) Romeo Tabuena’s oeuvre perfectly melds his Filipino and Mexican inspirations. Born and raised in the Philippines, Tabuena first started his career with a series of exhibitions at the Philippine Art Gallery in 1949 in the same vein as the other Philippine Neorealists like Manansala, Ocampo, Saguil, and Legaspi. He has made his name for his near-monochromatic watercolor genre landscapes. However, his style transformed when he moved to San Miguel de Allende in 1955. His style bloomed into a colorful, prismatic style that features folk subjects broken down into basic shapes. He had been influenced by the colorful and artistic city, in which he lived until he died in 2015. In his 1967 White Rooster, however, more than one decade since he moved to Mexico, Tabuena returned to an earlier art style with the piece echoing his darker, more proletarian pieces. Amidst the dark tones, the only shining light is that of the titular white rooster cradled against the man’s chest. The history of cockfighting is rich in the Philippines – tracing back to the pre-Hispanic era, cockfighting has now become akin to a social function, the fights serving as almost a rite of passage for many young men. In this work, Tabuena still displays his Filipino tendencies despite his decade away from his native soil, proving just how deep-rooted his inspirations are. (Hannah Valiente)
Leon Gallery
Nov. 30, 2024
Romeo Tabuena Tapestry
Est: -
A 20th century tapestry of an untitled artwork by Filipino masterpainter Romeo Tabuena. Needs deep cleaning.
Casa de Memoria
Nov. 14, 2024
ROMEO TABUENA - UNTITLED (LANDSCAPE)
Est: $800 - $1,200
Lot 45 Romeo Tabuena Filipino (1921-2015) Untitled (Landscape) watercolor on paper sight: 22 x 13 inches frame dimensions: 33 1/2 x 23 1/2 x 1 1/2 inches, wood frame with glazing Provenance: From a Private Connecticut Collection
Capsule Gallery Auction
Nov. 10, 2024
Romeo Villalva Tabuena (Filipino, 1921-2015) Oil on Board
Est: $500 - $700
Romeo Villalva Tabuena (Filipino, 1921-2015) Oil on Board 1960, signed and dated lower left, depicting two figures near a palm tree observing a man riding a water buffalo, having a linen lined chip carved wood frame Property from: an Estate, Chicago (Edgewater) Illinois Category: Fine Art > Paintings Estimated Sale Time: 11:24 am CST Shipping Status: Leonard Auction, Inc. will provide direct shipping for this lot. Please visit our website for a shipping estimate. Last modified: October 30, 2024, 8:59 am
Leonard Auction
Oct. 26, 2024
Romeo Tabuena (1921- 2015)
Est: ₱50,000 - ₱65,000
Untitled signed and dated 1956 (lower left) oil on board 17 1/2" x 7" (44 cm x 18 cm)
Leon Gallery
Oct. 26, 2024
Romeo Tabuena (1921- 2015)
Est: ₱30,000 - ₱39,000
Mother and Child signed and dated 1954 (lower right) watercolor on paper 22" x 16" (56 cm x 41 cm)
Leon Gallery
Oct. 26, 2024
Romeo Tabuena (1921- 2015)
Est: ₱80,000 - ₱104,000
Casa de Adobe signed and dated 1955 (lower right) oil on paper 18” x 24” (46 cm x 61 cm) Accompanied by a certificate Romeo Tabuena’s oeuvre seamlessly blends his Mexican and Filipino sensibilities. Born in Iloilo in 1921, Tabuena’s career led to his wanderlust lifestyle, with him leaving the country to study in New York and Paris in 1953 and 1954, respectively. By 1955, he had moved to San Miguel de Allende in Mexico where he settled down with his wife Nina. In between these life changes, Tabuena created these works at hand. His 1954 Mother and Child and a 1956 untitled piece were created in the years before and after Tabuena’s move to Mexico and they perfectly demonstrate the shift that took over his art style. Admired for his dark-toned oil paintings, both works seemingly reflect the concerns of the proletarians, with hints of an Expressionistic distortion in them but his 1956 work is slowly developing Tabuena’s more cubistic style, with the work containing harsher, clearer lines and borders in comparison to Mother and Child’s more hazy style. His unique blend of Mexican and Filipino inspiration did not go unacknowledged by both countries when in 2000, the two countries held a Millenium Show in his honor with the Philippines further awarding Tabuena with the Presidential Merit Award in 2007. (Hannah Valiente)
Leon Gallery
Oct. 22, 2024
Romeo Tabuena, Untitled
Est: $800 - $1,200
Romeo Tabuena Untitled 1960 watercolor on paper sight: 3.75 h x 16.5 w in (10 x 42 cm) Signed and dated to lower right 'Tabuena 1960'. This work will ship from Chicago, Illinois.
Toomey & Co. Auctioneers
Oct. 09, 2024
Romeo Villalva Tabuena 1921-2015 Pasture Painting
Est: $4,000 - $8,000
An original oil painting on masonite by Filipino-Mexican artist Romeo Villalva Tabuena (1921-2015), titled "Pastoral." This serene rural landscape, signed and dated 1974 in the top right corner, exemplifies Tabuena's exceptional ability to capture tranquil countryside scenes. The artwork retains a gallery label on the verso from the Art Museum Norton Gallery and School of Arts of Palm Beaches, providing details about the title, date, and artist. Presented in its original period wood frame. Created with SnapGenie Work Size: 13 x 37 in. Dimensions: 21.25 X 45 X 1 in. Condition: Good overall vintage condition having average surface wear, with some areas of mild toning. Frame showing average stroage wear to edges and corner. Estate fresh to the market. Shipping: Hill Auction Gallery does not offer in-house shipping for this item. Gallery will refer third party shippers for all domestic and international buyers. Purchaser pick up available upon request. Local Delivery: Florida door-to-door hand delivery service available for this lot; contact Toti@Zemaqua.com for an estimate.
Hill Auction Gallery
Sep. 21, 2024
Romeo Villalva Tabuena 1969 painting Danzantes
Est: $5,000 - $8,000
Tabuena, Romeo Villalva (Filipino/Mexican, 1921-2015), Danzantes, 1969, acrylic and mixed media on board,31.5 x 39.5 inches, signed and dated upper left, framed measuring 33 x 40.75 inches, with the artist's printed paper label on board reverse, San Miguel de Allende.
Concept Art Gallery
Sep. 19, 2024
Painting, Romeo Villalva Tabuena
Est: $1,000 - $1,500
Romeo Villalva Tabuena (Filipino, 1921-2015), "Firewood Gatherers," 1966, acrylic on masonite, signed and dated upper left, titled and dated on artist's label verso, masonite: 12.5"h x 16.25"w, overall (with frame): 20.25"h x 24.25"w
Clars Auctions
Sep. 14, 2024
Romeo Tabuena (1921 - 2015) - Untitled (Playing with Butterflies)
Est: ₱450,000 - ₱550,000
Romeo Tabuena (1921 - 2015) Signed and dated '1977' (lower left) Oil on canvas 66 x 74 cm (26 x 29 in)
Salcedo Auctions
Sep. 14, 2024
Romeo Tabuena (1921-2015) - Fruit Seller
Est: ₱700,000 - ₱800,000
Romeo Tabuena (1921-2015) Signed and dated '1963' (upper left) Oil on masonite 95 x 64 cm (37 x 25 in)
Salcedo Auctions
Sep. 14, 2024
Romeo Tabuena (1921 - 2015) - Untitled
Est: ₱300,000 - ₱390,000
Untitled signed (bottom) ca. 1960 mixed media on Philippine flag 60" x 36" (152 cm x 91 cm) PROVENANCE: La Gazette Drouot, Contemporary and Actual Art, Barcelona, 27 July 2022, Lot 62 WRITE UP Romeo Tabuena walks the fine line between Mexico and the Philippines and emerges as the perfect combination of both. In 1955, Tabuene settled permanently in San Miguel de Allende, Mexico after a few years of studying abroad. Despite his physical distance from his home country, he had never severed any ties with the Philippines, retaining his Philippine citizenship as well as participating as the Philippines’s representative in many art events, including the Eighth Biennial of Sao Paulo, Brazil in 1965. This continued love for the Philippines despite the distance is evident in this mixed media work. Taking on the quintessential Filipino symbol, the Philippine flag, he mixed it with the common images of the Filipino masses. Despite his physical distance, Tabuena can never seem to fully sever himself from the Philippines, a fact that he will contend with as he permanently settled in San Allende while still maintaining his connections to his homeland. “[Tabuena is] a gentle soul who appreciated … the many similarities between Mexico and the Philippines,” Bibsy M. Carballo said. Indeed, Tabuena’s works transcend geographical boundaries as he depicts the vibrant cultures of his hometown and chosen country through his equally animated oeuvre. (Hannah Valiente)
Leon Gallery
Sep. 14, 2024
Romeo Tabuena (1921 - 2015) - Lavanderas
Est: ₱200,000 - ₱260,000
PROPERTY FROM THE PARSONS FAMILY COLLECTION Lavanderas signed (lower right) ca. 1949 - 1950 oil on wood 19 1/2" x 24" (50 cm x 61 cm) PROVENANCE Philippine Art Gallery WRITE UP The Chick Parsons Tabuena From the Artist’s Neo-Realist Period The post-war Philippine art scene was both a tragedy and a capsule of hope. Amid the cultural destruction, the Art Association of the Philippines (AAP), founded in 1948 and headed by Purita Kalaw-Ledesma, rose to prominence as the leading vanguard and custodian of Filipino cultural heritage. The AAP would hold its annual exhibitions and competitions, at first separated into the conservative and modern categories. But the tides would always turn in favor of the moderns, who, even in the first AAP competition in 1948, had swept all the major awards, from the first prize won by Botong Francisco for Kaingin up to the sixth prize won by H.R. Ocampo for Nude with Candle and Flower. The glaring reality of the post-war period put modernism on its own pedestal. “The moderns were searching for truth, while the conservatives were merely repeating themselves. It was as simple as that,” Purita Kalaw-Ledesma writes in her seminal book The Struggle for Philippine Art. Out of the ashes rose the core group of the Neo-Realists, whose artistic manifesto was rooted in Francesco de Santi: “To create reality, an artist must first have the force to kill it. But instantly, the fragments draw together again, in love with each other, seeking one another, coming together with desire, with the obscure presentiment of the new life to which they are destined.” The Neo-Realists felt compelled to break away from the Classical-Romantic tradition espoused by Amorsolo and depict reality as it is—bold and harrowing yet still encapsulating the Filipino people’s stories of shared struggles and hopes amidst the ruins of war, effectively resonating with the current times. The original Neo-Realists comprised H.R. Ocampo, Cesar Legaspi, Vicente Manansala, Romeo Tabuena, Victor Oteyza, and Ramon Estella. They would first exhibit on June 17, 1950 at the Manila Hotel and sponsored by the AAP. Tabuena, formerly an illustrator for The Evening News, had joined the circle of Manansala (also an illustrator for The Evening News, where the two crossed paths), Legaspi, Ocampo, and Estella. He would slowly learn painting from his weekly sojourns with his friends. “…The friends would meet on Sundays at each other’s house to show what each had painted during the week and to comment on each other’s works,” writes Kalaw-Ledesma in the book The Biggest Little Room: A History of the Philippine Art Gallery. Tabuena’s Lavanderas, one of his earliest paintings, bears the hallmark of the Neo-Realist propensity to fragment and, eventually, reconstruct forms in accordance with the social vibrations of their times. With bowed heads and backs and distorted figures and facial expressions, the women veer away from the Amorsolo image of the charming dalaga— all smiles, a beacon of radiance, romantically sentimental, idealized. In Tabuena’s work, the colors, applied with much vigor, still retain their brightness—a perfect juxtaposition between the chaos of distortion and the optimistic resilience represented by a vibrant palette. Chick Parsons, who stayed in Manila after his legendary military exploits in the war, may have been drawn to this poignant reminder of the post-war situation and how the people he wholeheartedly loved possess the earnest ability to rise like a phoenix from the ashes of physical and moral destruction. (Adrian Maranan)
Leon Gallery
Aug. 24, 2024
Romeo Tabuena "Casa de Adobe" (1956 Tempera Painting)
Est: $2,000 - $2,500
Romeo Villalva Tabuena (Filipino, 1921-2015) Casa de Adobe, 1956 Tempera on paper 19" x 24 1/2" (mat window) A scene from the early days of Tabuena's career in Mexico, signed and dated to the bottom left. The glazed frame measures 31" x 36 1/2".
Circle Auction
Jul. 27, 2024
Romeo Tabuena (1921- 2015)
Est: ₱50,000 - ₱65,000
Old Man oil on masonite board 26 1/2" x 19 1/4" (67 cm x 49 cm)
Leon Gallery
Jul. 27, 2024
Romeo Tabuena (1921- 2015)
Est: ₱100,000 - ₱130,000
Untitled signed and dated 1964 (lower left) oil on masonite board 21 1/2" x 32 1/2" (55 cm x 83 cm)
Leon Gallery
Jul. 19, 2024
Painting, Romeo Villalva Tabuena
Est: $1,500 - $2,500
Romeo Villalva Tabuena (Filipino, 1921-2015), "Firewood Gatherers," 1966, acrylic on masonite, signed and dated upper left, titled and dated on artist's label verso, masonite: 12.5"h x 16.25"w, overall (with frame): 20.25"h x 24.25"w
Clars Auctions
Jun. 26, 2024
Romeo Tabuena Small Framed Painting
Est: $400 - $500
Romero Villalva Tabuena, Philippines (1921-2015). Small framed oil on paper mounted in thin metal frame. Signed and dated top right, 1965. Measures 9 1/8"H x 9 1/8"W framed; 5"H x 5"W visual. Condition: good, please see all photos. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. This lot cannot be shipped in house. For an instant guaranteed third party shipping quote through Quality Packing and Shipping visit: https://www.qualitypackship.com/abington-copy-1 or contact our other third party shippers.
Abington Auction Gallery
Jun. 20, 2024
Painting, Romeo Villalva Tabueno
Est: $2,000 - $4,000
Romeo Villalva Tabuena (Filipino, 1921-2015), "Firewood Gatherers," 1966, acrylic on masonite, signed and dated upper left, titled and dated on artist's label verso, masonite: 12.5"h x 16.25"w, overall (with frame): 20.25"h x 24.25"w
Clars Auctions
Jun. 08, 2024
Romeo Tabuena (1921- 2015) - Carabao
Est: ₱500,000 - ₱650,000
Carabao signed and dated 1958 (lower left) oil on wood 16" x 55" (41 cm x 140 cm) PROVENANCE: Private collection, USA Romeo Tabuena’s works during his “Mexican Period” are imbued with a mixture of his Neo-Realist sensibilities and an Oriental flair that ushered into full fruition as a result of his life in diaspora when he decided to settle permanently in San Miguel de Allende, Mexico, in 1955. Despite being thousands of miles from his motherland, Tabuena retained a genuine affiliation with his native culture by exalting rural scenes ubiquitous to his country. Tabuena’s scenes of the pastoral do not in any way bear any resemblance to the sunlit, romantic canvases of the Amorsolo school, which continued to flex its dominance even in the immediate post-war period. Instead, they carry the torch of a Neo-Realist affinity, to which Tabuena had aligned himself in the early 1950s as a reaction to the postwar milieu. This 1958 work titled Carabao, which Tabuena made just three years after he had settled in Mexico, displays the artist’s Neo-Realist inclination for distortion, fragmentation, and reconstruction mixed with an Oriental style akin to a Chinese ink wash painting, resulting in darkly toned and somber paintings that come out as deeply expressionist in essence. A herd of carabaos led by farmers, the latter possessing bodies rendered elongated and highlighted using a black palette, emphasizes their downtrodden situation. The resulting work shows Tabuena in touch not only with the time-honored traditions of his native land but, more so, his profoundly ingrained connection with his fellow people whose everyday lives and sustenance are struck by mercenary interests, especially in the context of the “newly liberated” Philippines of the post-war era. (Adrian Maranan)
Leon Gallery
May. 18, 2024
Portrait of a Woman
Est: -
By Filipino master painter Romeo V. Tabuena. Dated "1959" and signed by the artist.
Casa de Memoria
Apr. 20, 2024
Romeo Tabuena (1921- 2015)
Est: ₱30,000 - ₱39,000
Untitled (Carabao) signed and dated 1955 (lower left) watercolor on paper 16 1/2" x 27 1/4" (42 cm x 69 cm)
Leon Gallery
Apr. 20, 2024
Romeo Tabuena (1921- 2015)
Est: ₱120,000 - ₱156,000
PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION Study-Mexico signed and dated 1955 (lower left) oil on paper 19" x 24 1/2" (48 cm x 62 cm)
Leon Gallery
Mar. 21, 2024
Painting, Romeo Villalva Tabuena
Est: $1,000 - $1,500
Romeo Villalva Tabuena (Filipino, 1921-2015), Untitled (Crucifix), oil on board, signed lower left, board: 30.5"h x 21"w, overall (with frame): 33.75"h x 24"w
Clars Auctions
Mar. 09, 2024
Romeo Tabuena (1921- 2015) - Still Life
Est: ₱600,000 - ₱780,000
Still Life signed and dated 1989 (lower right) oil on canvas 36" x 43" (91 cm x 109cm) PROVENANCE: Private colletion, USA WRITE UP: Romeo Tabuena: Fruit and Song Throughout history, still-life portraits have been a staple for many artists. A tableau of the life lived by the humans before they left the canvas, a still-life painting expresses a world devoid of its inhabitants but still bearing their reflections. Even without humans present, the flowers and the bowl of fruits on the table all tell a story – these objective facts are depicted through the subjective lens of the artist, each yielding a different story. For Romeo Tabuena, his still-life paintings show his inclinations toward the Filipino and Mexican cultures. Born in the Philippines, Tabuena’s brief sojourn to Allende, Mexico turned to a permanent residence when he fell in love with the tight-knit artistic community. Here his translucent and fluid forms took on a blocky opaque quality akin to the Mexican sensibilities at the time, bright and luminescent featuring every color on the spectrum. Still Life (1989) features Tabuena’s blocky cubist forms. Using vibrant colors, Tabuena depicts several items displayed atop a table – a fan, watermelons, a fruit basket, a jug, and a cage of birds. From the watermelons that are locally grown in these countries to the guitar that feature heavily in each country’s local music, these items are culturally loaded in both the Philippines and Mexico. “[Tabuena is] a gentle soul who appreciated … the many similarities between Mexico and the Philippines,” Bibsy M. Carballo said and his oeuvre shows his ever-growing appreciation. His works transcend geographical boundaries, marrying the culture of his hometown and the country he chose to live in to create culturally and visually vibrant pieces. (Hannah Valiente)
Leon Gallery
Mar. 09, 2024
Romeo Tabuena (1921- 2015) - Pueblo en la Luz de la Luna (Village In The Moonlight)
Est: ₱700,000 - ₱910,000
PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION Pueblo en la Luz de la Luna (Village In The Moonlight) signed and dated 1962 (lower right) oil on masonite board 36" x 40" (91 cm x 102 cm) WRITE UP: Romeo Tabuena’s Pueblo en la Luz de la Luna (translating to Village in the Moonlight from Spanish) shows the artist’s two sources of inspiration: his home country the Philippines and his chosen city of Allende, Mexico. Tabuena’s journey to Mexico did not immediately lead him to the country. After studying in the Philippines, his academic training first led him to New York in 1952 under American artist Will Barnet before it called him to Paris in 1954 at the Académie de la Grande Chaumière His sojourn to Mexico in 1955 was meant to be a usual study trip like his New York and Paris one. However, when he arrived at the Instituto Allende in San Miguel de Allende, Tabuena immediately fell in love with the artistic town. Here he stayed for the rest of his life, raising a family with his wife Nina. However, despite residing on the other side of the world, Tabuena did not sever his ties to the Philippines. He retained his Philippine citizenship, continuing to mount exhibitions in his home country. In 1957, he created one of his major works – Filipiniana (1957) was a mural exhibited at the Philippine Embassy in Washington, D.C. Pueblo en la Luz de la Luna was created five years after Filipiniana’s creation. It still retained the sense of transparency that is typical of an early Tabuena work, airy and atmospheric that juxtaposed the blocky works he would create at the later phase of his career inspired by the aesthetic of Mexican muralists. Instead, it features a dreamlike depiction of the titular village. In jewel tones and soft interlocking cubist shapes, Tabuena’s village takes shape, shining under the vibrant moon. Tabuena’s oeuvre is a celebration of his Mexican and Filipino cultures. Both countries share similarities in their pasts – they both were colonies of Spain, an occupation that still retains its cultural impact in the countries today. Half a world away, Mexico and the Philippines hold a mirror to each other, both in their past and present, and this interesting crossroads fascinate Tabuena as shown by the lot in hand. Three years after Tabuena painted Pueblo en la Luz de la Luna, he reached another milestone in his career as he stood as the official Filipino artist and art commissioner from the Philippines in the Eighth São Paulo Art Biennial. (Hannah Valiente)
Leon Gallery
Mar. 09, 2024
Romeo Tabuena (1921- 2015) - Guitar Player
Est: ₱340,000 - ₱442,000
Guitar Player signed and dated 1998 (lower right) oil on canvas 39" x 31 1/2" (99 cm x 80 cm) WRITE UP: In October 1995, in celebration of his 40 years of residency in San Miguel de Allende, the Instituto de Bellas Artes, Centro Cultural Ignacio honored Filipino artist Romeo Tabuena with a major exhibition, followed by a similar exhibit in 1996, this one with the cooperation of the Philippine Embassy. Like his background, the oeuvre of Romeo Tabuena shows the charms of both his homeland and the country he chose to live in. Culturally similar, the Philippines and Mexico share a loaded colonial background, in particular Spanish. Due to that, both countries are cultural mirrors, something that Tabuena finds himself drawn to. The 1998 Guitar Player was created three years after Tabuena’s 40-year celebration of residency in Allende and is a manifestation of his Filipino and Mexican heritage. Guitars are cultural icons in both the Philippines and Mexico, as both are staples in the country’s music. This similarity is pointed out in Guitar Player which, unlike his earlier more transparent works, is stylized in an opaque blocky form with jewel tones, a result of his later Mexican sensibilities. A man holds an acoustic guitar close to his chest, a wide-brimmed hat adorning his head. With Tabuena’s cubism, it is hard to figure out if the person is Filipino or Mexican and perhaps it does not matter. Romeo Tabuena’s charm of being able to marry his appreciation for both Filipino and Mexican is on full display, creating a work that transcends physical space. (Hannah Valiente)
Leon Gallery
Jan. 20, 2024
Romeo Tabuena (1921- 2015)
Est: ₱12,000 - ₱15,600
Sembranzo Arroz signed (lower left) pen and ink on paper 10" x 8" (25 cm x 20 cm)
Leon Gallery
Jan. 20, 2024
Romeo Tabuena (1921- 2015)
Est: ₱20,000 - ₱26,000
Portadora signed (lower left) aquarelle and ink 7" x 10" (18 cm x 25 cm)
Leon Gallery
Dec. 02, 2023
Romeo Tabuena (1921- 2015) - Musicians
Est: ₱300,000 - ₱390,000
Musicians signed and dated 1966 (upper left) oil and sand on Masonite 26 1/4” x 34 1/4” (67 x 92 cm) PROVENANCE: Acquired directly from the artist Doyle New York, Impressionist & Modern/Post-War & Contemporary, May 11, 2022 , Lot 98 Romeo Tabuena was a printmaker and painter who specialized in cubism with heavy inspiration from Chinese vertical format painting. Tabuena was born on August 22, 1921 in Iloilo City, a major port city in the Visayas opened by the Spanish colonial government for international trade in the 1850s. He undertook an architecture degree in Mapua Institute of Technology in Manila then pursued a fine arts degree in the University of the Philippines. He began to gain local notoriety in 1949 after his works were featured in the Philippine Art Gallery however, unsatisfied with his current knowledge, he pursued further studies abroad, moving from the United States, to France, and finally Mexico where he extended his stay for several decades. Similar to his predecessors in the Philippines, he took inspiration on the common surroundings, its people, their way of life, and the likes; however, instead of depicting the Filipino folk, his scope were the locals of Mexico where he resided at. By doing so, he indirectly formed a bridge between the geographically disconnected Philippines and Mexico that share a common colonial past. Nevertheless, he never renounced his Philippine citizenship and continued working with Philippine institutions, as well as created works about scenes in the Philippine countryside throughout the remainder of his life. He died in Guanajuato, Mexico on October 15, 2015.
Leon Gallery
Dec. 02, 2023
Romeo Tabuena (1921- 2015) - Vaquero with Five Carabaos
Est: ₱340,000 - ₱442,000
PROPERTY FROM THE CHARLES C. STEVENSON JR. COLLECTION Vaquero with Five Carabaos signed and dated 1953 (lower right) oil on canvas 46” x 30” (117 cm x 76 cm) EXHIBITED Philippine Art Gallery WRITE UPEven amid the urban jungle of New York City, the Philippine vista of carabaos, amid palm fronds and nipa huts would continue to populate Romeo Vilalva Tabuena’s paintings. In the winter of 1952, its brilliant hot-house colors must have reminded Tabuena of his distant homeland. Charles C. Stevenson Jr. would be a sought-after actor who would guest in such tv series from the 1980s (Alfred Hitchcock Presents and Cheers) through the 2000’s (Glee, Grace and Will); as well as multiple movie appearances. Tabuena would evolve a distinctive style that would make his work both unique and consistently reliable. (LGN)
Leon Gallery
Dec. 02, 2023
Romeo Tabuena (1921- 2015) - Saguingan (Banana Grove)
Est: ₱240,000 - ₱312,000
PROPERTY FROM THE CHARLES C. STEVENSON JR. COLLECTION Saguingan (Banana Grove) signed and dated 1952 (lower right) and titled (verso) oil on canvas 30” x 24” (76 cm x 61 cm) EXHIBITED Philippine Art Gallery WRITE UPIn 1952, Romeo Villalva Tabuena was at the Art Student League in New York City; and in his own hand at the back of the artwork, he would document that it was a product of his evening classes from Byron Browne. Byron Browne (1907-1961) is described by the Smithsonian Art Archives as “Modernist painter and one of the founders of American Abstract Artists, a New York City organization devoted to exhibiting abstract art. Browne specialized in still life in the style of Synthetic Cubism, influenced by his friend Willem de Kooning.” ABOVE: Verso : Byron Browne’s Evening Class Saguingan (Banana Grove). It was an important period for American modern art, and New York in particular. Jackson Pollock had just been declared the ‘Greatest Living Painter’ by Life Magazine in 1948 and the center of the art world had tilted away from Paris as its center of gravity. Charles C. Stevenson Jr. was the son of a silent-movie actor and had become an in-demand character actor himself, appearing in both well-known movies and tv series. Romeo Tabuena was a founding member of the Philippine Neo-Realists, and a pillar of the Philippine Art Gallery. A brilliant banana frond appears as a handprint of this artist. (LGN)
Leon Gallery
Dec. 02, 2023
Romeo Tabuena (1921- 2015) - Woman with Fruits
Est: ₱200,000 - ₱260,000
Woman with Fruits signed and dated 1967 (upper right) acrylic on masonite board 24” x 20” (61 cm x 51 cm) WRITE UPRomeo Tabuena was a printmaker and painter who specialized in neorealism, an art style that merges realism with abstract style liberties. Tabuena was also heavily influenced by cubism and Chinese vertical format painting. He began to gain local notoriety in 1951 after his works were featured in the Philippine Art Gallery however, unsatisfied with his artistic level pursued further studies abroad, moving from the United States, to France, and finally Mexico where he extended his stay for several decades. Similar to his predecessors in the Philippines, he took inspiration on the common surroundings, its people, their way of life, and the like; however, instead of depicting the Filipino folk, his scope were the locals of Mexico where he resided at. By doing so, he indirectly formed a bridge between the geographically disconnected Philippines and Mexico that share a common colonial past. Nevertheless, he never renounced his Philippine citizenship and continued working with Philippine institutions, as well as created works about scenes in the Philippine countryside throughout the remainder of his life. He died in Guanajuato, Mexico on October 15, 2015.
Leon Gallery
Nov. 16, 2023
Painting, Romeo Villalva Tabuena
Est: $4,000 - $6,000
Romeo Villalva Tabuena (Mexican, 1921-1915), Trio Romantico, acrylic on board, signed lower left, board: 18.75" x 38.75"w, overall (with frame): 23"h x 43"w
Clars Auctions
Nov. 10, 2023
Romeo Tabuena, Still Life with Watermelon
Est: $3,000 - $5,000
Romeo Tabuena Still Life with Watermelon 1965 acrylic on board 26 h x 38 w in (66 x 97 cm) Signed and dated to lower left 'Tabuena 1965'. This work will ship from Lambertville, New Jersey.
Rago Arts and Auction Center
Nov. 04, 2023
Romeo Tabuena Painting
Est: $3,000 - $5,000
Work is titled on artist's label, but age has faded the writing.
Palm Beach Modern Auctions
Oct. 30, 2023
Romeo Tabuena (1921-2015) Oil On Canvas
Est: $2,000 - $8,000
DESCRIPTION: Oil on canvas painting by Romeo Tabuena (1921 - 2015) depicting a woman holding a vase of flowers. Signed and dated at top left. Includes certificate of authenticity signed by the artist. CIRCA: 1988 ORIGIN: Mexican DIMENSIONS: (Sight) H: 30" W: 26.75" (Frame) H: 40.5" W: 37" CONDITION: Great condition.
Akiba Galleries
Oct. 21, 2023
Romeo Villalva Tabuena Untitled (Figure with Boars), 1963
Est: $3,000 - $5,000
Romeo Villalva Tabuena (Filipino, 1921-2015) Untitled (Figure with Boars), 1963 Oil on board Signed and dated Tabuena 1963, lower left
Larsen Art Auction
Oct. 11, 2023
Romeo Villalva Tabuena
Est: $1,500 - $2,500
Filipino/American, 1921-2015 Philippine Family, 1958 Signed and dated Tabuena 1958 (lr) Oil on board 11 3/4 x 5 3/4 inches (29.8 x 14.6 cm) (Framed dimensions: 17 1/2 x 11 1/2 x 1 3/8 inches) Light frame rubbing. Rubs and small losses at all four corners. No evidence of restoration under UV inspection.
DOYLE Auctioneers & Appraisers
Sep. 09, 2023
Romeo Tabuena (1921- 2015) - Country Scene
Est: ₱300,000 - ₱390,000
Romeo Tabuena (1921- 2015) Country Scene signed and dated 1967 (lower left) oil on masonite board 29 1/2" x 22" (73 cm x 56 cm) Romeo Tabuena shared that he has been greatly influenced by Cubism and the horizonless Chinese vertical paintings. Country Scene — with its calligraphic brushstrokes and atmospheric visual quality — shows traces of those influences. The vegetation, huts, and water are delicately depicted; hence, the viewer gets to delight in the dynamism of these gossamer figures with the rural folk: the man on a carabao, the woman washing clothes at the riverbank, and a woman resting a tray on her head. These elements are compressed, yet are not crowded or jumbled. Instead, the barely defined figures evoke calmness and subtle dreamlike quality that is a distinguishable characteristic of most of Tabuanea’s works. Country Scene is another piece exemplifying Tabuena’s ingenuity in rendering local and rural images that reveal the richness and simple beauties of Filipino culture. (Raphaela Cordero)
Leon Gallery
Sep. 09, 2023
Romeo Tabuena (1921- 2015) - Villagers
Est: ₱400,000 - ₱520,000
Romeo Tabuena (1921- 2015) Villagers signed and dated 1968 (lower left) acrylic on board 30" x 22" (76 cm x 56 cm) Romeo Tabuena moved to San Miguel de Allende, Mexico in 1955, and there he would paint for decades to come. Although he had the opportunity to study abroad and showcase his talent, as well as garner acclaim and accolades, the artist lived a humble and simple life in the foreign land. His wife, Nina, a Swiss woman who also studied art, learned about Tabuena, her future husband, through a magazine. His works in Mexico exhibit colors from the entire spectrum and often feature cultural themes. In this 1968 acrylic painting, Tabuena was able to imbue a certain lyrical and literary beauty into the simple folk life. Although the watercolor landscapes are his most sought-after works, the lot at hand evokes the same artistry that the Filipino artist is celebrated for. Three years prior to the creation of this untitled piece, in 1965, Tabuena attended the eighth Biennial in Sao Paulo, Brazil, as the official representative of the Philippines. (Isabella Romarate)
Leon Gallery
Sep. 09, 2023
Romeo Tabuena (1921 - 2015) - Madonna
Est: ₱300,000 - ₱390,000
Romeo Tabuena (1921 - 2015) Madonna signed and dated 1963 (upper right) egg tempera on board 30" x 24 1/2" (76 cm x 62 cm) In this 1963 painting from Romeo Tabuena’s “Mexican Period,” the celebrated artist imbibes a poignant interpretation of the popular Christian theme, Madonna and Child. Growing up in a predominantly Catholic country and moving in the mid-1950s to San Miguel de Allende in Mexico, where Catholicism is the dominant faith, it is no wonder that Tabuena found inspiration in the image of the Virgin Mary and the Child Jesus. Tabuena conveys a humanizing aspect to the sacred by powerfully depicting and signifying the masses’ toiling through his expressionist whim. Aside from his colorful and prismatic paintings characteristic of his “Mexican Period,” Tabuena also delved into expressionism with his darkly toned works, suggesting his affinity for the common folk’s struggles. In this particular work, Tabuena depicts the mother and child as somber figures, with their blank eyes symbolizing a void of nothingness and their blank facial expressions strained and worn out by the seemingly endless cycle of subjugation and injustice. Tabuena, who lived in two countries with agonizing histories of colonial and systemic oppression, draws inspiration from the Black Madonna. This venerated religious icon has become a symbol of unity and struggle of black, indigenous, and other people of color against their historical and systemic oppression. By interweaving the sacred and the profane, Tabuena cultivates and advances the messianic role of the masses in their emancipation from historical oppression. (Adrian Maranan)
Leon Gallery
Sep. 09, 2023
Romeo Tabuena (1921 - 2015) - Fruit Vendor
Est: ₱400,000 - ₱520,000
Romeo Tabuena (1921 - 2015) Fruit Vendor signed and dated 1965 (lower right) acrylic on canvas 37 1/2" x 28 1/2" (95 cm x 72 cm) The art of Romeo Tabuena is admired for its combination of Filipino and Mexican cultural themes. Aside from countryside sceneries, his paintings are also inhabited by native plants, traditional houses, and folk figures. For the lot at hand, Fruit Vendor, this acrylic piece exhibits his creative and unique experimentation with cubist elements. His prismatic deconstruction and rendition of elements were able to fluently translate the reality of his subjects into the brilliant planar figures that have astounded his audiences time and again. Tabuena had the opportunity to study abroad and showcase his talent, as well as garner acclaim and accolades. In 1955, he moved to San Miguel de Allende in Mexico, where he would paint for decades to come. Yet, despite residing far from his homeland, his art remained in touch with his Filipino roots. His fondness for the cultural idylls of the Philippines and Mexico has allowed him to devise a distinctive quality to his oeuvres. The works he produced while in Mexico exhibit colors from the entire spectrum and feature subjects such as villagers and street vendors. The cubist maestro’s use of such closeto-home themes has evolved over the years, and despite the many advancements in his style, he has retained that unmistakable Tabuena flair. (Isabella Romarate)
Leon Gallery