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Pacita Abad Sold at Auction Prices

b. 1946 - d. 2004

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          • Pacita Abad (1946 - 2004) - Sapuno (Batanes Series)
            Jun. 08, 2024

            Pacita Abad (1946 - 2004) - Sapuno (Batanes Series)

            Est: ₱500,000 - ₱650,000

            Sapuno (Batanes Series) signed (lower right) ca. 1984 oil on canvas 32" x 35 1/2" (81 cm x 90 cm) León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot * The proceeds of this lot will be used to benefit the Unang Hakbang Foundation Inc. EXHIBITED: Cultural Center of the Philippines, Pacita Abad: Paintings of People and Landscapes of Batanes (Curated by Ray Albano), Manila, 22 February - 17 March 1985 Throughout her years as an artist, Pacita Abad was deeply engaged in learning and adopting various artistic traditions from all corners of the globe. Her insatiable curiosity and open-mindedness led her to explore diverse techniques and styles, which she then skillfully integrated into her own artistic practice. Abad used these techniques as a medium for creating art that was truly diverse and global in nature. Her unique approach not only garnered her acclaim and recognition worldwide but also played a significant role in bringing together previously isolated and distant cultures through art. Despite this, Abad never forgot her own roots, specifically those deeply planted in her home province of Batanes. A stark contrast to her experimentations in mixed media and undertakings in foreign traditions, Abad’s Batanes series is a love letter to the artist’s home. As the title suggests, the artworks transport viewers to the lush isles of Batanes, effectively showcasing the distinct and unique culture of the Philippines’ northernmost region. However, they do more than simply act as idyllic windows into the charm of Abad's hometown. In Sapuno, we see the exterior of a local household. Pots and pans are seen left out to dry in the yard, while on the ground we see domesticated birds, pecking at the ground for feed and sustenance. The work is a rare glimpse not only of life in Batanes during the time, but Abad’s own inner world. According to Abad’s estate: “Once she realized that her cancer was fatal, she decided that she wanted to die in her Batanes studio overlooking the ocean. After spending two weeks on her last trip to Batanes, she was grudgingly convinced that she had to return to Singapore in order to receive proper medical treatment that was simply not available on the island. After her death, Pacita's ashes were brought back to Batanes.” (Jed Daya)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Sandra's Mysterious World
            Jun. 08, 2024

            Pacita Abad (1946 - 2004) - Sandra's Mysterious World

            Est: ₱1,000,000 - ₱1,300,000

            Sandra's Mysterious World signed and dated 1985 (lower right) oil and mixed media on panel 55" x 36" (140 cm x 91 cm) EXHIBITED: The Luz Gallery, Pacita and Her Friends (Curated by Arturo Luz), Makati, October 1985 LITERATURE: Garrity, Jack and the Pacita Abad Art Estate. Pacita and Her Friends (Paintings by Pacita Abad). Los Angeles: Pacita Abad Art Estate, 2017. Full-color illustration on page 47 and painting description on page 46. León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot PROVENANCE: The Luz Gallery A Fine Artist and Her Amiga In Celebration of Pacita Abad’s Venice Biennale Debut During her 32-year artistic career Pacita Abad’s paintings were shown in more than 200 museums and galleries and site-specific venues in the United States, Asia, Australia, Europe, Africa and Latin America. Her works are now in museums, public, corporate and private art collections in over 70 countries. In the last few years, Pacita Abad has become arguably the most acclaimed international Filipino artist, male or female. Just to cite a few recent examples of her current fame, her work is presently included in the 2024 International Pavilion of the Venice Biennale, she has a hugely successful solo retrospective exhibition at MOMA’s Ps1 in New York City, the San Francisco Museum of Art and the Walker Art Center in Minneapolis. Pacita Abad came from a prominent Batanes political family. While studying abroad, she married her international banker husband Jack Garrity. She returned to the Philippines in the late '70's and thereafter pursued her artistic career full-time. At the time, Sandra Palou was working as Assistant Director at both the Metropolitan Museum of Manila and the Museum of Philippine Art under Arturo Luz. “Sandie” was one of the first people who recognized Pacita’s talent, which today is being explosively manifested internationally by multiple solo exhibitions in US and UK museums and at the moment inclusion in the International Pavilion of the just opened 2024 Venice Biennale. Sandra encouraged Arturo Luz to visit Pacita's studio. This was a considerable challenge as Arturo Luz, who owned the leading gallery in the Philippines at the time, had no female artist on his roster. It was a product of the times, nor was he interested in giving any Filipina artist a solo exhibition. Sandra however managed to organize a lunch in Pacita’s studio inviting Arturo and two other leading figures in the local art scene—art critic Leonidas Benesa and Anding Roces. After seriously examining her work, Arturo decided to give Pacita a solo exhibition of her Trapuntos at the Museum of Philippine Art. This was a huge success, enjoying much favorable publicity and attained one of the venue’s highest attendances. In the course of her career Pacita not only became an internationally acclaimed artist but the first female TOYM Awardee. This was indeed a ground-breaking achievement since the anagram TOYM stands for “Ten Outstanding Young Men.” In the mid-eighties, just before Jack was relocated to Jakarta, Arturo asked Pacita to do a solo exhibition at the Luz Gallery, again a first for a Filipino female artist. Pacita decided to do a portrait show of her favorite friends and artists during her stay in the Philippines. "Sandra's Mysterious World" was among the portraits prominently exhibited. The painting represents Sandra's colorful life, her involvement with the orphanage of St. Theresa, and her adventurous nature. Their friendship continued through the years, and Pacita became the godmother to Sandra's first child, Amparo. Pacita died of cancer on the 7th of December 2004 at the age of 58.

            Leon Gallery
          • PACITA ABAD (1946-2004) Blues Festival oil, tin, painted cloth stitched on
            May. 29, 2024

            PACITA ABAD (1946-2004) Blues Festival oil, tin, painted cloth stitched on

            Est: $120,000 - $180,000

            PACITA ABAD (1946-2004) Blues Festival oil, tin, painted cloth stitched on canvas 90 x 75 cm. (35 3⁄8 x 29 1⁄2 in.)

            Christie's
          • Pacita Abad (1946 - 2004) - Still Life III
            Dec. 02, 2023

            Pacita Abad (1946 - 2004) - Still Life III

            Est: ₱240,000 - ₱312,000

            Still Life III signed and dated 1978 (lower right) oil on canvas 28” x 36” (71 cm x 91 cm) Leon Gallery wishes to thank Mr. and Mrs. Jack and Kristiyani Garrity for confirming the authenticity of this lot PROVENANCE: Acquired directly from the present owner WRITE UPPacita Abad’s journey in the realm of art stemmed from a detour through the field of Law, driven by a fervent dedication to championing human rights. Departing the Philippines in 1969, Abad’s initial intention upon arriving in the United States was straightforward: to delve into legal studies and eventually utilize her acquired skills to advocate for her fellow countrymen back home. However, her path took an unexpected turn. Despite achieving a Masters degree in Asian History from the University of San Francisco, Abad discovered her true passion resided within the realm of art. This revelation steered her toward a pursuit of painting, commencing her artistic education at the Corcoran School of Art in Washington D.C., followed by further studies at the Art Students League in New York City. Since then, Abad has traversed an itinerant career, leaving her distinct mark on the global art scene. Her artistic journey has seen her collaborating with various artists, museums, galleries, and collectors across six continents. Her artistic output has been prolific, resulting in over 4,500 distinct artworks created and an impressive portfolio of over 200 exhibitions held across the globe. Completed in 1978 in New York City, this artwork is part of Pacita’s collection of still life paintings crafted during her residency in a studio apartment adjacent to the Chelsea Hotel.” This work is emblematic of the fact that whatever subject-matter Abad chose to focus on, she always had a million things to say. (Jed Daya)

            Leon Gallery
          • Pacita Abad,  Self-Portrait, 1985 
            Sep. 05, 2023

            Pacita Abad,  Self-Portrait, 1985 

            Est: £700 - £1,000

            Pacita Abad,  Filipino/American 1946-2004, Self-Portrait, 1985;  monoprint in colours on wove,  signed, dated, inscribed and titled in pencil, image: 63.5 x 47.2 cm,  (unframed)

            Roseberys
          • Pacita Abad,  Bacongo, #3, 1983 
            Sep. 05, 2023

            Pacita Abad,  Bacongo, #3, 1983 

            Est: £700 - £1,000

            Pacita Abad,  Filipino/American 1946-2004, Bacongo, #3, 1983;  serigraph in colours on wove,  signed, dated, titled and numbered 2/2 in pencil,  image: 66 x 45.7 cm,  (unframed)

            Roseberys
          • Pacita Abad,  Bacongo #2 
            Sep. 05, 2023

            Pacita Abad,  Bacongo #2 

            Est: £500 - £700

            Pacita Abad,  American 1946-2004, Bacongo #2;  serigraph in colours on wove,  titled and numbered 5/5 in pencil,  image: 65.7 x 46 cm,  (unframed)

            Roseberys
          • PACITA ABAD,  AMERICAN 1946-2004, BACONGO #2;  SERIGRAPH IN COLOURS ON WOVE,  TITLED AND NUMBERED
            Jun. 15, 2023

            PACITA ABAD,  AMERICAN 1946-2004, BACONGO #2;  SERIGRAPH IN COLOURS ON WOVE,  TITLED AND NUMBERED

            Est: £1,000 - £2,000

            Pacita Abad,  American 1946-2004, Bacongo #2;  serigraph in colours on wove,  titled and numbered 5/5 in pencil,  image: 65.7 x 46 cm,  (unframed)

            Roseberys
          • PACITA ABAD,  FILIPINO/AMERICAN 1946-2004 -  SELF-PORTRAIT, 1985;  MONOPRINT, TITLED, SIGNED AND D
            Jun. 06, 2023

            PACITA ABAD,  FILIPINO/AMERICAN 1946-2004 -  SELF-PORTRAIT, 1985;  MONOPRINT, TITLED, SIGNED AND D

            Est: £1,000 - £2,000

            Pacita Abad,  Filipino/American 1946-2004 -  Self-Portrait, 1985;  monoprint, titled, signed and dated along lower edge 'Self-Portrait pacita 1985', 68 x 50 cm (mounted/unframed) 

            Roseberys
          • Pacita Abad Art Plate
            Apr. 23, 2023

            Pacita Abad Art Plate

            Est: ₱3,000 - ₱3,900

            Gatotkaca (open series) H: 2 1/2” (6 cm) D: 9 1/4” (23 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004)
            Feb. 18, 2023

            Pacita Abad (1946 - 2004)

            Est: ₱700,000 - ₱910,000

            Pacita Abad (1946 - 2004) Beata signed and dated 1982 (lower right) oil on canvas 36" x 24" (91 cm x 61 cm) EXHIBITED: Cultural Center of the Philippines Small Gallery, Paintings of People and Landscapes of Batanes, Curated by Ray Albano, Manila, February 22 - March 17, 1985 LITERATURE: Fanega, Buddy. "A deeply personal, expressionist style." The Economic Monitor. May 1, 1985. Accessed online at https:// pacitaabad.com/usr/documents/press/download_url/163/galleryhopping-may-1985-by-buddy-fanega.pdf Painted in 1982, this oil on canvas work by Pacita Abad is among the rare portraits done by Abad. Titled Beata, the piece was painted at the ancestral home of Abad’s late grandfather, the former Gov. Bernardo Barsana in their home province of Batanes. The work itself features the late Segundina Senna Vasol, a native of Ivana, Batanes, as her muse. She is depicted smoking a cigar and wearing the ‘vakul,’ the traditional straw headgear worn by Ivatan women, particularly farmers, to protect them from the rain and sun. Eventually, Beata would become Abad’s centerpiece for her seminal solo exhibition titled “Scenes from Batanes” which was mounted at the Cultural Center of the Philippines and curated by Ray Albano. Exhibited at the CCP’s Small Gallery, “Scenes from Batanes” was Abad’s seventeenth solo exhibition that proved to be a unique experience as the works featured would come to be some of the only landscape and portraiture works by the artist. In the exhibit, viewers are transported into the lush home island of Abad; an experience that, during the time, was rare even for Filipinos. The paintings, which feature the huts, sceneries, and people of Batanes, don’t only allow audiences to view and imagine the day-to-day life of the island locals, but also contain within them a psychological aspect. One that hints towards the inner workings of Abad’s subjects. Such an approach effectively humanizes Abad’s elements, elevating them to something beyond merely figures on a canvas. During her active years, Abad spent a majority of her time learning and adopting various artistic traditions from all over the world. She then utilized these techniques not only as a way of improving upon her works, but as a medium for creating works that are truly diverse and global. This unique approach earned Pacita acclaim and recognition throughout the world as her practice sought to bring together previously isolated and distant cultures. (J.D.)

            Leon Gallery
          • Pacita Abad (1946 - 2004) Mahatao
            Dec. 03, 2022

            Pacita Abad (1946 - 2004) Mahatao

            Est: ₱800,000 - ₱1,040,000

            Mahatao signed and dated 1984 (lower right) oil on canvas 36" x 50" (91 cm x 127 cm) León Gallery wishes to thank Jack and Kristiyani Garrity for confirming the authenticity of this lot PROVENANCE Acquired directly from the artist EXHIBITED Cultural Center of the Philippines Small Gallery, Paintings of People and Landscapes of Batanes, Curated by Ray Albano, Manila, February 22 - March 17, 1985 The revered Filipino artist Pacita Abad continues to be one of the most accomplished voices for Filipino art in the international scene. During her active years, Abad spent a majority of her time learning and adopting various artistic traditions from all over the world. She then utilized these techniques not only as a way of improving upon her works, but as a medium for creating works that are truly diverse and global. This unique approach earned Pacita acclaim and recognition throughout the world as her practice sought to bring together previously isolated and distant cultures. Despite her international approach to art, Abad never forgot her own Filipino heritage. This particular Untitled piece is emblematic of Abad’s interest in the rich culture of her motherland, specifically of her birthplace of Batanes and of its local peoples the Ivatan. According to Abad’s estate “You can see on the back of the painting Pacita wrote the old title ’The Dumpster’, from her earlier Bangladesh series. 'The Dumpster’ (shown below) was part of a solo exhibition titled Paintings of Bangladesh by Pacita Abad, at Augusta Savage Gallery New Africa House, University of Massachusetts, Amherst, MA, March 9-27, 1981. When Pacita was busy preparing for her Batanes exhibition at the CCP in 1985 she ran out of canvas, so she decided to paint over her earlier painting to create 'Mahatao'. This was not the first, nor the last time that she repurposed her earlier artworks, as she continued this practice throughout her painting career.”

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Lifesavers
            Sep. 10, 2022

            Pacita Abad (1946 - 2004) - Lifesavers

            Est: ₱300,000 - ₱390,000

            Pacita Abad (1946 - 2004) Lifesavers signed and dated 1987 (lower right) acrylic and oil on canvas, embroidered mirrors and trapuntoe d 33" x 34" (84 cm x 86 cm) León Gallery wishes to thank Mr. and Mrs. Jack and Kristiyani Garrity for confirming the authenticity of this lot Lifesavers was among the more than 50 small-scale trapunto paintings exhibited at Pacita Abad's 1991 homecoming exhibition simultaneously held at The Luz Gallery and the Ayala Museum in Makati. According to Jack Garrity, Abad created this piece in Washington, D.C., where she settled from 1986 to 1991. In an interview with Maria V. Garin and published in the March 3, 1991 issue of the Sunday Globe, Abad referred to the American capital as a "very cosmopolitan place with multinational artists and international people…a better place for a Filipina artist to be in than…New York." "Washington is a beautiful place with lots of museums and galleries and a better chance for you to meet other artists," Abad adds. During her Washington period, Abad was highly active in the international art scene. She represented the Philippines in various exhibitions, such as 'La Bienal de la Habana' in Cuba (1986); UNESCO's 40th-anniversary celebrations with a traveling show in fifteen museums in Europe and Asia (1987); and the 'International Art Show for the End of World Hunger' in Europe (1988-1989). Abad also received awards from the National Endowment for the Arts as a visual arts fellow for 1990; the District of Columbia Commission on the Arts and Humanities as a visual arts grantee for 1989 and 1990; and the New York State Council on the Arts as a visiting artist. At her Washington studio, all the walls were covered with trapuntos and the floor with acrylic. She usually worked on five pieces simultaneously. "You should see my house in Washington; there is not a single square inch of white left," exclaims Abad in an article by Rachel P. Mayo published in the February 14, 1991 issue of The Manila Times. Abad characterized the works in her homecoming show as non-representational. She reveals to the Sunday Globe: "There's really no particular theme. It's nonrepresentational. It just happened...I like it better that way because then the work comes on stronger. It's just wild, colorful, and spontaneous." In those trapuntos, Abad employs a wide variety of materials, including glass, gold threads, beads, shells, embroidery, fabrics, buttons, and of course, tiny mirrors, as with the case of the trapunto at hand. She paints, cuts, silk screens, glues, and sews objects to the trapuntos to achieve a textural quality akin to a threedimensional relief. Ma. Preciosa L. Sibulo writes in her February 6, 1991 article on BusinessWorld: "Abad said most of the paintings were studies for bigger works, but as she was working on these 'studies,' she became so engrossed that she decided to have a show." Abad describes the works in the exhibit in Anjie Blardony Ureta's article in the January 31, 1991 issue of the Malaya newspaper: "Well, this time, it's even wilder! When people ask me what's new in this exhibit, I tell them: First, they are comparatively smaller in size, and second, these ones are really outrageous. If I go beyond this, I'll be painting the walls! I want the paintings to look like they're stretching out as far as the edges of the frame…And I'd love to see people turning the frames over to see if there's more at the back." (A.M.)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Red Roofs
            Sep. 10, 2022

            Pacita Abad (1946 - 2004) - Red Roofs

            Est: ₱300,000 - ₱390,000

            Pacita Abad (1946 - 2004) Red Roofs signed and dated 1984 (lower right) acrylic and black ink on handmade paper 12 1/4" x 25" (31 cm x 64 cm) León Gallery wishes to thank Mr. and Mrs. Jack and Kristiyani Garrity for confirming the authenticity of this lot Pacita Abad’s designation as undoubtedly the most well-known and lauded Filipino international artist is not without basis. Ever since Abad started dabbling in the arts in the 1970s, her practice rarely remained singular or stagnant. Instead, Abad was always looking for new ways to express her vision through groundbreaking and innovative experimentations in medium, subject matter, and presentation. Though she originally created works that reflected a Social Realist style that dove into the complex cultural, social, and historical underpinnings of the time, her sojourn to the United States eventually opened up the plethora of possibilities for her and her art. She then began to experiment with more abstract styles and forms, an interest that would eventually lead her to venture into using non-traditional materials and ephemera as a way of executing her vision. Her works would end up incorporating hand-stitched textiles, ribbons, sequins, beads, buttons, tin, mirrors and many other found objects the artist collected during her travels throughout Africa, Middle East, Asia and Latin America. This particular piece was one of the initial ink paperworks that Pacita did as part of her Oriental Abstractions series based on her ink brush study in Seoul, Korea in 1984. Lifesavers was also shown as part of Pacita’s 'Wild at Art’ exhibition at the Luz Gallery in 1991. The work can also be seen as a representation of how Abad’s iconic style, that features an amalgamation and celebration of different forms, remains effective and engaging no matter the medium or approach. (J.D.)

            Leon Gallery
          • Pacita’s Painted Bridge by Pacita Abad
            Jul. 29, 2022

            Pacita’s Painted Bridge by Pacita Abad

            Est: ₱2,000 - ₱2,600

            Pacita’s Painted Bridge by Pacita Abad photographs by Michael Liew

            Leon Gallery
          • Pacita Abad (1946 - 2004)
            Jul. 29, 2022

            Pacita Abad (1946 - 2004)

            Est: ₱8,000 - ₱10,400

            Pacita Abad (1946 - 2004) Filipina: A Racial Identity Crisis, 1992 lithograph with pulp-painted chine-collé and metallic powder edition of 40 43” × 30” (109 cm × 76 cm) EXHIBITED Bronx Museum of the Arts, Talk Back! The Community Responds to the Permanent Collection, Part II, New York, March 28 - June 22, 1997

            Leon Gallery
          • Pacita Abad (1946 - 2004)
            Jun. 11, 2022

            Pacita Abad (1946 - 2004)

            Est: ₱400,000 - ₱520,000

            Pacita Abad (1946 - 2004) Antareja and Arimbi signed (lower right) dated 1995 oil on padded canvas, stitched with sequins, rhinestones, buttons, pearls, beads, mirrors, tie dye silk and cotton León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot Through this 1983 titled Antareja and Arimbi, Abad effectively develops a uniquely asian and oriental aesthetic philosophy through a revitalized approach of traditional techniques and materials. The work is part of Abad’s Wayang Kulit series that drew inspiration from different mythological texts often depicted in traditional Indonesian Wayang theatre, such as the Ramayana and the Mahabharata, while utilizing the traditional Indonesian practice of batik weaving. The work features two traditional Wayang characters found in the Javanese version of the Mahabharata, Arimbi, a mythological demon, and Antareja, a king and fierce general who embodies the distinct culture of the Javanese people given that the figure is not found in the original Indian iteration of the Mahabharata, but in the version recorded and passed down by Javanese poets. The work itself features the traditional facets of batik weaving through its use of sequins, buttons, rhinestones, pearls, and beads, on silk and cotton fabric. As arguably one of the most well-known and influential Filipino artists on the world stage, visual artist and painter Pacita Abad’s oeuvres have proved themselves, time and time again, as not only mere paintings or works of art, but sweeping odes and hymns to the vitality, mystery, and diversity of human life and experience. Her thirty-year painting career began when she traveled to the United States to study law in San Francisco. It was there that she decided to switch careers and dedicate her life to painting. Since then Pacita never stopped being a gypsy and painted the globe while working on six different continents and traveling to more than fifty countries. Abad made history as the first woman to receive the Philippines’ prestigious Ten Outstanding Young Men award. (J.D.)

            Leon Gallery
          • Pacita Abad (1946 - 2004)
            Jun. 11, 2022

            Pacita Abad (1946 - 2004)

            Est: ₱300,000 - ₱390,000

            Pacita Abad (1946 - 2004) Tevan Galano (Batanes Series) signed and dated 1982 (lower right) oil on canvas 33 1/2" x 33 1/2" (85 cm x 85 cm) PROPERTY FROM THE JEANNIE JAVELOSA COLLECTION León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot EXHIBITED: Cultural Center of the Philippines Small Gallery, Paintings of People and Landscapes of Batanes, Curated by Ray Albano, Manila, February 22 - March 17, 1985 LITERATURE: Fanega, Buddy. "A deeply personal, expressionist style." Gallery Hopping. May 1, 1985. Accessed online at https://pacitaabad.com/usr/documents/press/ download_url/163/gallery-hopping-may-1985-by-buddy-fanega.pdf The revered Filipino artist Pacita Abad continues to be one of the most accomplished voices for Filipino art in the international scene. During her active years, Abad spent a majority of her time learning and adopting various artistic traditions from all over the world. She then utilized these techniques not only as a way of improving upon her works, but as a medium for creating works that are truly diverse and global. This unique approach earned Pacita acclaim and recognition throughout the world as her practice sought to bring together previously isolated and distant cultures. Despite her international approach to art, Abad never forgot her own Filipino heritage. This particular Untitled piece is emblematic of Abad’s interest in the rich culture of her motherland, specifically of her birthplace of Batanes and of its local peoples the Ivatan. The work itself was part of her seventeenth solo exhibit titled Paintings of People and Landscapes of Batanes which was mounted at the Cultural Center of the Philippines in 1985. The works, as the title suggests, transport its viewers to the lush isles of Batanes, effectively showcasing the distinct and unique culture of the Philippines’ northernmost region. But aside from acting as idyllic windows into the charm Abad’s hometown, her works also gateways into the characters that populate the islands. In an article about the exhibit, the art critic Buddy Fanega writes “In a deeply Expressionist style, the artist did here straight portraiture, improved at times by a conscious desire to infuse psychological insights. The results bespeak Pacita’s admiration for these appealing and venerable islanders.” (J.D.)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Gotta Art Out
            Apr. 23, 2022

            Pacita Abad (1946 - 2004) - Gotta Art Out

            Est: ₱50,000 - ₱65,000

            Pacita Abad (1946 - 2004) Gotta Art Out signed (lower right) and dated 1998 (verso) oil on canvas without frame:12” x 12” (30 cm x 30 cm) with frame: 20” x 20” (51 cm x 51 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - We Have Moved
            Apr. 23, 2022

            Pacita Abad (1946 - 2004) - We Have Moved

            Est: ₱50,000 - ₱65,000

            Pacita Abad (1946 - 2004) We Have Moved signed (lower right) and dated 1998 (verso) oil on canvas without frame:12” x 12” (30 cm x 30 cm) with frame: 20 1/2” x 20 1/2” (52 cm x 52 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - She Got the Blues
            Apr. 23, 2022

            Pacita Abad (1946 - 2004) - She Got the Blues

            Est: ₱25,000 - ₱32,500

            Pacita Abad (1946 - 2004) She Got the Blues signed (lower right) oil, broken glass stitched on canvas 6” x 6” (15 cm x 15 cm) with frame: 18” x 18” (46 cm x 46 cm)

            Leon Gallery
          • Techno-color Dreams
            Mar. 12, 2022

            Techno-color Dreams

            Est: ₱750,000 - ₱800,000

            Pacita Abad (1946 - 2004) Techno-color Dreams Signed (lower right). Dated '2004' on label verso Acrylic, painted cardboard, glitter, fabrics collaged on handmade paper 135 x 72 cm (53 x 28 in) A Galleria Duemila Inc. label is affixed at the back of the frame, A Galleria Duemila Inc. label is affixed at the back of the frame, COP-9253, Abad, Pacita, Techno-color Dreams, 135 (h) x 72 (w), 53.19 (h) x 28.368 (w), 4.4325 (h) x 2.364 (w) x 0 (d), Acrylic, painted cardboard, glitter, fabrics collaged on handmade paper, 2004

            Salcedo Auctions
          • Pop Art
            Mar. 12, 2022

            Pop Art

            Est: ₱450,000 - ₱500,000

            Pacita Abad (1946 - 2004) Pop Art Signed (lower right). Dated '2003' on label verso Oil, fabrics, batik, acrylic, pastel, sequins on handmade paper 57 x 77 cm (22 1/2 x 30 1/4 in) A Galleria Duemila Inc. label is affixed at the back of the frame, COP-9221, Abad, Pacita, Pop Art, 57 (h) x 77 (w), 22.458 (h) x 30.338 (w), 1.8715 (h) x 2.528167 (w) x 0 (d), Oil, fabrics, batik, acrylic, pastel, sequins on handmade paper, 2003

            Salcedo Auctions
          • Pacita Abad (1946 - 2004) - Oh Happy Days
            Mar. 05, 2022

            Pacita Abad (1946 - 2004) - Oh Happy Days

            Est: ₱360,000 - ₱468,000

            Oh Happy Days signed and dated 2003 (lower right) edition of 4/6 stencilled, hand-coloured pressed paper pulp 66" x 52" (168 cm x 132 cm) Accompanied by a certificate issued by Galleria Duemila, Inc. confirming the authenticity of this lot PROVENANCE: Singapore Tyler Print Institute EXHIBITED: Singapore Tyler Print Institute, Pacita Abad: Circles in My Mind, Singapore, October 31, 2003 - January 25, 2004 Cultural Center of the Philippines, Pacita Abad: Circles in My Mind, Pasay, September 9 - October 31, 2004 Singapore Management University School of Economics, Pacita Abad Gallery at Singapore Management University, Singapore, October 5, 2005 - December 31, 2020 LITERATURE: Abad, Pacita and Cid Reyes. Pacita Abad: Circles in My Mind (Prints and Paper Pulp Works). Singapore Tyler Print Institute. Singapore. 2003. p. 8. Though Abad originally adopted a relatively figurative style to her practice, it wasn’t until her exposure to different forms of global art that her practice truly blossomed to what we celebrate today. Aside from her move to San Francisco, which opened up a young Pacita to the world of art, Pacita’s trip across multiple nations and countries such Turkey, Iran, Afghanistan, Pakistan, India, Sri Lanka, Myanmar, Thailand, Laos, Taiwan and Hong Kong drastically changed her life and plans, as she decided to pursue the arts rather than law. Through her travels, she learned various disciplines and techniques such as Indonesian batik-making, African tie-dyeing, Korean ink-brush painting. She was then able to apply these techniques that are just as multifaceted as her experiences. This particular piece titled Oh Happy Days is emblematic of her widelyregarded and critically acclaimed practice, which are often attributed to her richly colored paintings, textile collages, and mixed-media assemblages. This mixed media piece seemingly stems primarily from Abad’s own experiences. It features an amalgamation of different items, objects, forms, and figures, relating to the viewer the subjects of interest that Abad herself has regarded as pivotal throughout her career. It is a piece that expresses the pure bliss and emancipation that art has relegated to Abad’s life, as well as the possibility of art holds for other individuals.

            Leon Gallery
          • Pacita Abad (Filipino/American 1946-2004), Wild Bird of Paradise, Mixed Media on Canvas, 84 x 60 in
            Mar. 04, 2022

            Pacita Abad (Filipino/American 1946-2004), Wild Bird of Paradise, Mixed Media on Canvas, 84 x 60 in

            Est: $15,000 - $25,000

            Pacita Abad (Filipino/American, 1946-2004) Wild Bird of Paradise Signed Pacita l.r.; also signed, titled and dated on verso Mixed media on canvas

            Weschler's
          • Pacita Abad: Wayang, Irian and Sumba
            Jan. 28, 2022

            Pacita Abad: Wayang, Irian and Sumba

            Est: ₱1,000 - ₱1,300

            Pacita Abad: Wayang, Irian and Sumba hardcover

            Leon Gallery
          • Pacita Abad (1946 - 2004) Heliconia
            Oct. 16, 2021

            Pacita Abad (1946 - 2004) Heliconia

            Est: ₱80,000 - ₱104,000

            Pacita Abad (1946 - 2004) Heliconia signed and dated 1996 (lower right) oil on canvas 19 1/2” x 15 1/2” (50 cm x 39 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) Yellow Bird
            Oct. 16, 2021

            Pacita Abad (1946 - 2004) Yellow Bird

            Est: ₱80,000 - ₱104,000

            Pacita Abad (1946 - 2004) Yellow Bird signed and dated 1993 (lower right) acrylic on canvas 19 1/2” x 15 1/2” (50 cm x 39 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Confetti
            Jul. 16, 2021

            Pacita Abad (1946 - 2004) - Confetti

            Est: ₱50,000 - ₱65,000

            Pacita Abad (1946 - 2004) Confetti signed and dated 1990 (lower right) oil on canvas 14 1/2” x 19” (37 cm x 48 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Good Time Buttons
            Jul. 16, 2021

            Pacita Abad (1946 - 2004) - Good Time Buttons

            Est: ₱50,000 - ₱65,000

            Pacita Abad (1946 - 2004) Good Time Buttons signed (lower right) dated 1998 oil and glitter on canvas 20” x 16” (51 cm x 41 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - ... and Sixteen Followed
            Jul. 16, 2021

            Pacita Abad (1946 - 2004) - ... and Sixteen Followed

            Est: ₱30,000 - ₱39,000

            Pacita Abad (1946 - 2004) ... and Sixteen Followed signed (lower right) oil, broken glass stitched on canvas 6” x 6” (15 cm x 15 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004)
            Jun. 05, 2021

            Pacita Abad (1946 - 2004)

            Est: ₱800,000 - ₱1,040,000

            Pacita Abad (1946 - 2004) Rapture signed (lower right) and dated 1992 (verso) mixed media (tapestry) 83” x 57” (211 cm x 145 cm) Provenance: Private collection, Manila Literature: Findlay-Brown, Ian. Pacita Abad: Exploring the Spirit. National Gallery of Indonesia. Jakarta. 1996. p. 104 Exhibited: Thinking Big, Metropolitan Museum of Manila, June 15 - July 31, 1995" Exhibited: Thinking Big, Metropolitan Museum of Manila, June 15 - July 31, 1995 As undoubtedly one of the most well-known and influential Filipino artists on the world stage, visual artist and painter Pacita Abad’s oeuvres have proved themselves, time and time again, as not only mere paintings or works of art, but sweeping odes and hymns to the vitality, mystery, and diversity of human life and experience. Her thirty-year painting career began when she traveled to the United States to study law in San Francisco. It was there that she decided to switch careers and dedicate her life to painting. Since then Pacita never stopped being a gypsy and painted the globe while working on six different continents and traveling to more than fifty countries. Abad made history as the first woman to receive the Philippines’ prestigious Ten Outstanding Young Men award. This 1992 trapunto was one of Abad’s early advances into abstract art. Prior to this, she was creating mostly masks Tapestry of Life and representational subjects. Through this piece, Abad managed to revitalize a uniquely asian and oriental aesthetic philosophy with new and novel techniques and materials. Rapture is part of Abad’s monumental Asian Abstraction series that sought to combine Abad’s experience with traditional Korean brushwork and calligraphy, with her unique use of mixed media materials. The piece features a constellation of swirling colorful crescent-like elements seemingly converging at the work’s central focus—a concave rectangle rendered in a bright yellow hue. This emphasis on movement is seen as one of the core tenets of traditional Korean painting which itself emphasizes movement and the passage of time through directed shapes and brush techniques. Abad effectively brings this idea to life through a unique mix of materials such as acrylic paint, plastic buttons, mirrors, thread, and a padded canvas.

            Leon Gallery
          • Pacita Abad (1946 - 2004) Untitled
            Jan. 23, 2021

            Pacita Abad (1946 - 2004) Untitled

            Est: ₱230,000 - ₱299,000

            Pacita Abad (1946 - 2004) Untitled 48” x 28” (122 cm x 71 cm)

            Leon Gallery
          • Pacita Abad (1946 - 2004) - Untitled
            Jun. 20, 2020

            Pacita Abad (1946 - 2004) - Untitled

            Est: ₱300,000 - ₱390,000

            Pacita Abad (1946 - 2004) Yellow Polyps signed and dated 1986 (lower right) trapunto and acrylic on canvas 72” x 20” (183 cm x 51 cm) Estimate USD $6000-$7800 Estimate Euros €5000-€6500

            Leon Gallery
          • PACITA ABAD (1946-2004) Endless Blues oil, painted cloth stitched on canvas 258 x 186 cm. (101 5/8 x 73 ¼ in.)
            Nov. 24, 2019

            PACITA ABAD (1946-2004) Endless Blues oil, painted cloth stitched on canvas 258 x 186 cm. (101 5/8 x 73 ¼ in.)

            Est: $160,000 - $260,000

            PACITA ABAD (1946-2004) Endless Blues signed 'Pacita' (lower right) oil, painted cloth stitched on canvas 258 x 186 cm. (101 5/8 x 73 ¼ in.) Executed in 2001

            Christie's
          • PACITA ABAD, Singapore
            Oct. 19, 2019

            PACITA ABAD, Singapore

            Est: ₱150,000 - ₱250,000

            undated, oil on wood, 18 x 42 in (46 x 107 cm)

            Finale Auctions
          • PACITA ABAD | Seventeen Came
            Oct. 06, 2019

            PACITA ABAD | Seventeen Came

            Est: $50,000 - $70,000

            Oil and painted cloth stitched on padded canvas

            Sotheby's
          • PACITA ABAD (PHILIPPINES, 1946-2004) ALAMANDAS oil and painted cloth stitched on canvas 91.5 × 76 cm. (36 × 29 7/8 in.)
            Sep. 21, 2019

            PACITA ABAD (PHILIPPINES, 1946-2004) ALAMANDAS oil and painted cloth stitched on canvas 91.5 × 76 cm. (36 × 29 7/8 in.)

            Est: ¥50,000 - ¥80,000

            PACITA ABAD (PHILIPPINES, 1946-2004) ALAMANDAS oil and painted cloth stitched on canvas 91.5 × 76 cm. (36 × 29 7/8 in.) Painted in 2002

            Christie's
          • PACITA ABAD (PHILIPPINES, 1946-2004) Mild Warm Sunny Skies oil, painted batik cloth, broken glass on stitched and padded canvas 198.5 x 285 cm. (78 1/8 x 112 1/4 in.)
            May. 26, 2019

            PACITA ABAD (PHILIPPINES, 1946-2004) Mild Warm Sunny Skies oil, painted batik cloth, broken glass on stitched and padded canvas 198.5 x 285 cm. (78 1/8 x 112 1/4 in.)

            Est: $160,000 - $260,000

            PACITA ABAD (PHILIPPINES, 1946-2004) Mild Warm Sunny Skies signed 'pacita' (lower right) oil, painted batik cloth, broken glass on stitched and padded canvas 198.5 x 285 cm. (78 1/8 x 112 1/4 in.) Executed in 1998

            Christie's
          • Pacita Abad(1946-2004), I’m Gonna Leave You, signed (lower right) 2000, mix
            Apr. 13, 2019

            Pacita Abad(1946-2004), I’m Gonna Leave You, signed (lower right) 2000, mix

            Est: ₱500,000 - ₱650,000

            Pacita Abad(1946-2004), I’m Gonna Leave You, signed (lower right) 2000, mixed media38” x 38” (97 cm x 97 cm)

            Leon Gallery
          • PACITA ABAD | Obsession
            Apr. 01, 2019

            PACITA ABAD | Obsession

            Est: $40,000 - $60,000

            Oil, acrylic, painted canvas stitched on canvas

            Sotheby's
          • PACITA ABAD (PHILIPPINES, 1946-2004) It’s Not As Hard As It Seems oil on canvas 126.5 x 86 cm. (49 3/4 x 33 7/8 in.)
            Mar. 29, 2019

            PACITA ABAD (PHILIPPINES, 1946-2004) It’s Not As Hard As It Seems oil on canvas 126.5 x 86 cm. (49 3/4 x 33 7/8 in.)

            Est: $80,000 - $120,000

            PACITA ABAD (PHILIPPINES, 1946-2004) It’s Not As Hard As It Seems signed ‘pacita’ (lower right) oil on canvas 126.5 x 86 cm. (49 3/4 x 33 7/8 in.) Painted in 1998

            Christie's
          • PACITA ABAD (1946 - 2004) Untitled (Make Love Not War)
            Mar. 09, 2019

            PACITA ABAD (1946 - 2004) Untitled (Make Love Not War)

            Est: ₱150,000 - ₱160,000

            PACITA ABAD (1946 - 2004) Untitled (Make Love Not War) 2003 Mixed media 81 x 108 cm (31 3/4 x 42 1/2 in)

            Salcedo Auctions
          • Pacita Abad (1946-2004) Untitled
            Feb. 23, 2019

            Pacita Abad (1946-2004) Untitled

            Est: ₱220,000 - ₱286,000

            Pacita Abad (1946-2004) Untitled signed and dated 1986 (bottom) mixed media 25 1/4” x 35 1/2” (64 cm x 90 cm)

            Leon Gallery
          • Pacita Abad Shelter of Colors
            Jan. 19, 2019

            Pacita Abad Shelter of Colors

            Est: ₱120,000 - ₱156,000

            Pacita Abad Shelter of Colors oil on canvas 12” x 12” (30 cm x 30 cm) signed lower right

            Leon Gallery
          • PACITA ABAD (PHILIPPINES, 1946-2004) - FLEETING MOMENTS
            Sep. 21, 2018

            PACITA ABAD (PHILIPPINES, 1946-2004) - FLEETING MOMENTS

            Est: ¥50,000 - ¥70,000

            PACITA ABAD (PHILIPPINES, 1946-2004) FLEETING MOMENTS oil, painted stitched cloth on canvas 131.5 × 94.5 cm. (51 3/4 × 37 3/16 in.)

            Christie's
          • Pacita Abad (1946-2004)
            Sep. 08, 2018

            Pacita Abad (1946-2004)

            Est: ₱80,000 - ₱104,000

            Pacita Abad (1946-2004) Watusi: I’m lost without you Although Pacita Abad was primarily a painter, she loved to learn and experiment with new processes and techniques and this is what led her into the world of printmaking in the early 1980’s. Thus began a journey that saw her explore a range of techniques including collagraph, etching, woodblocks, monoprint, screen print lithography and multicolored, paper pulp, mixed media collages assemblages, and sculptures. Over the next 23 years as Pacita continuously explored the power of printmaking and purposely went beyond the traditional processes to utilize more of her painterly colors and use of materials in her printmaking. As a result, her prints began to achieve the powerful, colorful textured impact of her better known paintings. Biography Pacita Abad (1946-2004, Basco, Batanes, Philippines) did her MA in Asian History at the University of San Francisco in 1972. Her formal education in art was at the Corcoran School of Art (1975) and the Art Students League of New York (1977). She was the first female artists to receive the Ten Outstanding Young Men award (1984) given by the Philippine Jaycees and was also recognized by the Philippine government with the following : Likha award in 1998 and the Pamana ng Pilipino award in 2000. Abad was also the recipient of different fellowships and awards abroad such as Visual Arts Fellowship (1989 to 1990, June 1989) from the National Endowment for the Arts, Gwendolyn Caffritz Award (1992) from the Washington DC Commission for the Arts and was the Singapore Tyler Print Institute Visiting Artist program (2003). Abad’s travels to Africa, Latin America and Asia inspired her and were sources for techniques and materials. MCAD Manila’s Pacita Abad: A Million things to Say was the first exhibition in Manila after her show at the Cultural Center of the Philippines in 2004. Abad has created more than 5,000 artworks which were exhibited internationally in solo and group exhibitions. References: http://www.arndtfineart.com/website/artist_37332?idx=r https://www.guggenheim.org/map-artist/norberto-roldan 1991 lithograph, edition 7 of 30 Paper pulp painting, custom made paper which was editioned for a key woodblock, printing in black ink 39” x 30” (99 cm x 76 cm)

            Leon Gallery
          • Pacita Abad (1946-2004)
            Sep. 08, 2018

            Pacita Abad (1946-2004)

            Est: ₱800,000 - ₱1,040,000

            Pacita Abad (1946-2004) Muslim Wedding Pacita Abad seems to channel the sensibility of children and primitive art at the same time her work mocks the seriousness of high art and introduces the element of play. Indeed, at first glance it looks like a child’s exuberant drawing of a festive house. The playful and childlike effect also creates a decorative effect. Whereas childlike painting is akin to curbing that natural exuberant expressiveness in painting to “be neat’ and to “keep the color inside the lines”, the art of Pacita Abad are object lessons on how to paint exactly as the artist pleases on the principle that there are no rules and theories in picture making but may have a natural response to psychological values of colors, lines and shapes. It is easy to describe childlike painting as artistic endeavor, which, of course, it essentially is not, and to credit many a lucky accident as an expressive intention. But at the same expression must often be released through forms and colors that are not accurate transcriptions of nature and that art audiences have learned to understand childlike painting as well as naive expressionism on this basis. Pacita Abad’s constant probes into the possibilities of merging figurative and nonfigurative elements, oriental and Occidental motifs, collage and painting techniques, organic and geometric forms have given much of her work as a painter a look at once studied and tentative. signed and dated 1978 (lower right) oil on canvas 35” x 50 1/4” (89 cm x 128 cm)

            Leon Gallery
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