Artist Fernando Amorsolo was born in Manila in 1892, and as a teenager, he began an apprenticeship with respected artist Fabian de la Rosa. Despite the artist's loss of his father and half-brother before he was 12, early Fernando Amorsolo paintings were hopeful and full of light. Amorsolo's artwork drew particular appreciation for his technique of backlighting. Though some critics dismissed the positive outlook in his paintings as naive, Amorsolo wanted to show that good still existed in the world.
Fernando Amorsolo's paintings for sale depict the rural areas and people of the Philippines. In 1939, artist Fernando Amorsolo's oil painting Afternoon Meal of the Workers was exhibited at the New York World's Fair and won first prize. The artist was also commissioned to do oil paintings of all the sitting Philippine presidents during his career. Bring personality and light to your rooms by purchasing impressive portrait paintings online.
This luminous watercolor portrait is executed in the romanticized, classical style of Fernando Amorsolo, the first National Artist of the Philippines. Known for his mastery of light and his idealization of Philippine genre subjects, Amorsolo’s influence is evident here in the gentle, backlit quality of the subject and the focus on traditional cultural motifs. The composition depicts a smiling woman in a pink terno, adorned with a floral headdress and jewelry, holding a large, vibrant green leaf. The work utilizes a soft, airy palette dominated by pastel pinks, lavenders, and aquatic blues, reflecting the artist's celebrated "backlighting" technique which gives the skin a warm, golden glow. The delicate washes of color and fine detailing in the subject's expression capture the "Dalagang Bukid" (country maiden) archetype that Amorsolo popularized throughout the early to mid-20th century. This piece embodies the grace and idealized pastoral beauty that made his work a cornerstone of Philippine modernism. The lower left corner bears the signature "F. Amorsolo" alongside the date 1962. Specifications: Dimensions: 14" H x 12" W Artist: Fernando Amorsolo Origin: Philippines Medium: Watercolor on paper Condition: Excellent contemporary condition; professionally framed in a simple wood frame. Fernando Amorsolo, Philippine Art, National Artist, watercolor portrait, Dalagang Bukid, Southeast Asian modernism, classical realism, Filipino genre painting, mid-century watercolor, 1962 fine art.
Untitled print 5 1/4” x 8 1/4” (13 cm x 21 cm) A Nearly ubiquitous in every corner of Philippine art history, it is a fact often overlooked that Fernando Amorsolo’s advertising career thrived as much as his landscape and portraiture works. He worked as a draftsman for the Bureau of Public Works, currently known as the Department of Public Works and Highways, and also served as the Chief Artist for the Pacific Commercial Company, while simultaneously working as a part-time instructor at the University of the Philippines School of Fine Arts. “His early commercial output gives us a peek at Amorsolo’s mastery of the art of illustration,” Edwin A. Martinez writes in Amorsolo’s Works: Commercial Illustrations. Indeed, this particular work gives us a rare glimpse into Amorsolo’s work during his time with the Pacific Commercial Company. A stark contrast from his more famous depictions of sunlit pastoral scenes, Amorsolo’s pen-and-ink work depicts a more macabre vision: the Grim Reaper with its hand guiding the bucketful of water up to the mouths of drinking children. In the newspaper, the text below the photo roughly translates to: “From the fetid, stagnant, and polluted wells comes disgusting death to reap the death of innocent children.” An approximation of the text reveals that this is an ad for a bomba de mano or a hand pump. In particular, the text emphasizes the importance of keeping the children safe from the bacteria and microbes that come from exposed, dirty wells. Amorsolo actualizes this warning by personifying the terror of death as the Grim Reaper looming over the children. Their parents are naive, even unaware, of the danger they place their children in. Amorsolo’s advertising career extends far past the pieces preserved by collectors and families. Indeed, his most popular one is a logo almost everyone is certain to have seen themselves: that of Ginebra San Miguel. Yes, it was Amorsolo who illustrated St. Michael the Archangel battling a vanquished demon, the image that graces the gin’s logo up to this day. Amorsolo’s creation of the logo in 1917 directly helped him propel his career forward. It was the Ayalas who commissioned the artist to redesign their logo, and their patriarch and patron of the arts, Enrique Zóbel de Ayala, was so impressed by his work that he offered him the chance to study at the Academia de San Francisco in Madrid. The rest, as they say, is history. (Hannah Andrea Valiente)
Fernando Amorsolo 阿莫索羅 (Filipino, 1892-1972) Philippine Landscape, 1920 oil on panel signed F. Amorsolo, dated and located Manila (lower left) 9 1/8 x 13 in. (23.2 x 33cm) This lot is located in New York.
PROPERTY FROM THE HON. GEORGE A. MALCOLM COLLECTION Planting Rice signed and dated 1954 (lower right) oil on canvas 20" x 26" (51 cm x 66 cm) PROVENANCE A gift from the Philippine Congress to Hon. George A. Malcolm upon his conferment by the former of an honorary Philippine citizenship in 1955 “Despite his exposure to western influences, Amorsolo retained his Filipino consciousness as an artist. He was drawn more towards images of gentle rolling hills and verdant rice fields of the Philippines rather than the cosmopolitan world of Europe’s proud cities.” —S Y LV I A A M O RS O L O - L A Z O A N D E DW I N A . M A RT I N E Z , I N “ M A E S T RO F E R N A N D O C . A M O RS O L O : R E C O L L E C T I O N S O F T H E A M O RS O L O FA M I LY, 2009. Fernando Amorsolo was undoubtedly a household name in Philippine art. His pieces are a profound manifestation of his undying love for his home country, each composition a celebration of Philippine culture and heritage. His genre and historical paintings not only offer appealing landscapes and portraits but also elicit a great sense of belonging to the Filipino nation. In his 1954 Planting Rice, the hardworking farmers who often appear in the background of his Under the Mango Tree series take center stage. Amorsolo's sun cast a soft light, signifying an early morning scene, a time best suited for planting rice as the soil is still moist from dew. Notwithstanding the faint sunbeam, the farmers wear their salakots and long-sleeved shirts to protect their bodies from the impending heat. From a distance, there was a humongous mango tree, where farmers often rest and where their families cook and wait for them. "He invested rural people with dignity and country life with a feeling of contentment," art essayist Alfredo Roces writes in Amorsolo (1975). Indeed, the master painter's artistic bravura, fine strokes and vivid hues capture the hard work and simplicity of rural life, fostering a sense of nostalgia and appreciation for the bygone days. Despite the depiction of a back-breaking activity under the sun, the morning breeze envelops his figures, and a palpable sense of contentment emanates from them, permeating the canvas and reaching out to the audience. For a long time, the Amorsolo style and theme dominated the art scene, until the emergence of modernism in the Philippines struck it like lightning. Despite the criticisms and the artists' and the public's growing divergence from traditionalism, Amorsolo held on to his style and continued to make art as long as he could hold a paintbrush. Even after his death, his influence and undying legacy in the art scene continue to inspire and instill a deep sense of national pride, as embodied in the large body of works he left behind. (Jessica Magno)
PROPERTY FROM THE OSSORIO FAMILY COLLECTION Angelus signed and dated 1959 (lower right) oil on canvas 24" x 34" (61 cm x 86 cm) A rare Fernando Amorsolo subject, Angelus is a departure from his usual rice-cycle paintings. Albeit set in the rice fields, Amorsolo's Angelus differs in that the artist focused on the family unit observing their religious obligations, veering away from his ubiquitous pastoral subjects of rice planters, harvesters, threshers, winnowers, and farmers cooking and enjoying their afternoon meals. Thematically, Amorsolo's Angelus is closer in concept to his paintings revolving around the titles, Sunday Morning, Going to Town and Sunday Morning, Going to Church. The Angelus or Oración is a time-honored tradition among Filipino Catholics, rooted in our Hispanic heritage. Recited at exactly 12 in the afternoon, the prayer recounts the meeting between the Archangel Gabriel and the Blessed Virgin Mary, during which the archangel announces her immaculate conception, to which Mary willingly submits to God's divine plan. In Amorsolo's interpretation of the religious subject, the family remains still, facing towards the direction of the church, with the father's head bowed in reverence and the mother's face in a solemn gaze. Amorsolo's Angelus serves as an interlude from his rice cycle works, in which the family pauses from their toiling to reflect on their faith, observe their sacred obligations, and earnestly express their prayers for a bountiful harvest and continued sustenance. Amorsolo's approach to these subjects is firmly rooted in his upbringing and in how he nurtured his children in the Catholic faith. In Chapter III of the book Maestro Fernando C. Amorsolo: Recollections of the Amorsolo Family, Sylvia Amorsolo-Lazo recounted how her father raised her and her siblings to be faithful Catholics. She wrote, "Papa was also a Catholic who nurtured his children in the love and fear of God. He sent us to Catholic schools, occasionally accompanying us to observe our religious obligations." Amorsolo-Lazo also wrote of her father's sincerity and commitment in painting these religious works, recalling, "Since Papa also produced religious paintings, he engaged in research and observed religious traditions…." Angelus is a work of brightness and solemnity that shows Amorsolo at the crossroads of the divine and the mundane, expressing how the sacred is deeply intertwined with the culture and everyday living of the common Filipino. A similar piece, also painted in 1959, is on display at the National Museum of the Philippines. Also titled Angelus, the work forms part of the GSIS Collection entrusted to the care and management of the National Museum. The work on offer in this auction and the one in the National Museum are the only two known iterations of Amorsolo’s unique interpretation of the oracion.
PROPERTY FROM THE HON. GEORGE A. MALCOLM COLLECTION Planting Rice signed and dated 1955 (lower right) oil on canvas 24" x 32" (61 cm x 81 cm) PROVENANCE Acquired directly from the artist By 1955, Fernando Amorsolo was firmly established as the leading visual chronicler of Philippine life. Retired from the UP School of Fine Arts, Amorsolo endeavored to meet the unwavering/persistent demand for his work. “The closing two decades of his life were lived within the confines of his studio. Every day he painted from sunrise to sunset,” art critic Alfredo Roces explained in the foundational monograph Amorsolo 1892 – 1972. Portraits occupied most of Amorsolo’s time, but it was in genre painting and nature scenes that the master found freedom [Roces 134]. However, with the modernization of agriculture, the growing industrialization of provinces, and a sense of disenfranchisement that spurred militant agrarian movements, the Philippine countryside was changing. Amorsolo nonetheless remained faithful to the pastoral idealism for which he was known. In the book Amorsolo: Seven-Museum Exhibition, curator Purissima Benitez - Johannot wrote that despite the systemic/socioeconomic challenges faced by farm workers, “Amorsolo depicted them romantically; his faith in golden harvests remained unwavering.” Amid turbulence in both art and society in the 1950s, perhaps the appeal of idyllic pastures was even greater than before. Undoubtedly, the peaceful vitality of Amorsolo’s arcadian scenes are a sharp contrast to the gloomy devastation captured in his dim paintings of war and ruins in the decade prior. The beauty of Philippine provincial life is timeless, but in the newly independent nation, Amorsolo’s celebration of farmworkers and their labor bore a new significance. This piece features the soft brushwork, muted colors, and milder lighting that characterize Amorsolo’s later paintings. Against the serene greens and blues of the lush landscape, the maiden in the foreground glows in Amorsolo’s signature sunlight, which illuminates her yellow headscarf. Immediately the eye is drawn to her by the warmth of her clothing, the visibility of her face, and her upright figure, which bisects the horizontal lines of the fields, the sky, and the workers in the mid-distance. The baskets of rice seedlings in the foreground are sunlit as well, while Amorsolo’s mastery of light and shadow is apparent in the body of the male farmer kneeling in the center. The triangle formed by the man, the maiden, and the basket at her feet is the focal point of the painting—a picture of harmony, among men and women and between humans and nature. In the same year this work was painted, Congress passed Republic Act 1386, which declared owner George A. Malcolm (founder of the UP College of Law and a Supreme Court justice) an adopted son of the Philippines and granted him citizenship in recognition of his “priceless services” to Filipinos. Thus, this painting has served as both a tribute to a simpler age and a commemoration of the collector’s contributions to nation-building. (Nicole Lhuillier)
Fernando Amorsolo (1892 - 1972) Noon Day Meal signed and dated 1950 (lower right) oil on canvas 24" x 33" (61 cm x 84 cm) PROVENANCE Private collection, Manila Fernando Amorsolo would singlehandedly create the world of the happy patriot. Not for him the thunder and lightning of a gladiator’s death in the “Spoliarium” of Juan Luna, nor the tearful Christian virgins under the heel of the Roman empire, conjured by Felix Resurreccion Hidalgo. Belonging to a more peaceful time, Amorsolo believed that love of country could be expressed in harmony and not in conflict. That unique optimism still strikes a chord with everyone, creating and inspiring a new kind of patriotism. Fernando Amorsolo was born on practically the last day of May in 1892. It would be entirely fitting that the man who celebrated an eternal summer in his works would be born in that sunlit month. His family, however. would move from Paco, Manila to Daet, Camarines Norte by Christmas of that year. They would stay there until his father’s passing, 11 years later. Almost certainly, Amorsolo’s love for the great Philippine outdoors first took root in those pastoral years, a few towns away from the majestic Mayon Volcano, which would grace many of his paintings, amid the lush rice fields and fruit trees of Bicol. His mother, Bonifacia Cueto, would finally return to the capital after two years, exhausted by the struggle of raising six boys single-handedly. They would take refuge with her cousin, the now-prosperous Fabian de la Rosa y Cueto. Fabian de la Rosa was himself a second-generation artist, a nephew of one of Manila’s most famous portraitists — Simon Flores y de la Rosa. A student at the Manila Academia, he had also won a scholarship at the Real Academia de Bellas Artes de San Fernando, the same legendary arts college that Luna and Hidalgo had attended in Madrid. The Manila Academia’s funds to send Fabian abroad, however, would run out, but no matter, Fabian would find himself in the orbit of the Luna brothers when they set up a fencing school in Manila. De la Rosa would later become the star of the next generation to follow Luna and Hidalgo, painting Manila’s rich and famous in portraits of the country’s who’s who — but he also loved to chronicle the lives of the working woman. It would be twin themes that his nephew, Fernando Amorsolo, would follow in his own life. Bonifacia had supposedly sent her famous cousin, the young Fernando’s drawings, and Fabian would be persuaded to take his nephews — chiefly Fernando and his brother Pablo — under his wing. They began as his manchadors and then as his able apprentices. (Fernando would thus formally begin under de la Rosa’s tutelage at just 13.) It was from him that the Amorsolo siblings would learn the foundations of superb techniques that would only sharpen their talents. While De la Rosa’s paintings would embody the 20th-century Filipino identity, in a brand-new country perforce idealized under the new colonial masters, it would be Fernando Amorsolo who would make his own sun-dappled paradise famous across the Philippines. The maestro of the landscape would, however, remain undiminished; a statesman of the canvas who would rule, uncompromisingly, for half a century. Amorsolo would pass away on another summer’s day in 1972. The heart that had made him, in turn, one of the most beloved of Filipino artists simply gave way. In recognition of his magnificent talent and exquisite contributions to the Philippine spirit, this poet of the Filipino soul was named the country’s very first National Artist for the Visual Arts in the same year. The nation’s very first Philippine National Artist for the Visual Arts could only have been Fernando Amorsolo y Cueto, titan of the Philippine landscape, poet of the Filipino soul — and architect of a profound patriotism. It was thanks to the Spanish master Sorolla that Amorsolo discovered the infinite possibilities of Philippine light: The rosecolored streaks of its sunrises and sunsets; the reflections on dappled rice fields; the shade of a gnarled mango tree; even the dancing flames of a campfire. In the magnificent painting at hand, Amorsolo creates an embarrassment of riches in a single masterpiece, a perfectly balanced composition of his most famous and beloved characters. The maestro, it is said, would have a worn album at the ready for his well-heeled clientele to pick out just which of these archetypes they would like set into his artworks. In the foreground, a young beauty stirs an earthenware pot over a lively flame, one slender foot arched over the wooden slipper known as ‘bakya.’ Another maiden, her wide-brimmed hat thrown carelessly to one side, sits on the thick roots of an ancient mango tree, with a basket on her lap. Amorsolo’s favorite vision of motherhood, a Madonna carrying a baby girl dressed in a rosy pink cotton dress, stands watching her daughter taking over what was once her own maternal duties. The patterns of the women’s striped aprons (tapis) echo this connection. Shafts of newly-harvested rice are strewn in abundant piles around the family. They are the perfect symbols of plenty. Two new elements, however, now appear in what is otherwise Amorsolo’s most familiar mise en scène. These are a dark water buffalo seeking shade under the same leafy tree, and a be-hatted man working a hand-thresher. (Its bamboo outline can be spied just past the scene.) The carabao is the traditional draft animal of the smallholder farmer and is still an important fixture and symbol of the simple life. The man in the background is likewise a recognizable character in Amorsolo’s scenes, depicting one of his favorite ‘katiwala’ or caretakers, who would cameo in various Amorsolo works as a farmer or a fighting-cock owner. In the distance, farmers harvest the fields tirelessly, surrounded by the kind of heart-stopping vistas only to be found in the Philippine countryside. It’s a nod to his uncle Fabian de le Rosa’s monumental work, exhibited at the St. Louis World’s Fair of 1904, which won his mentor a gold medal. This Noonday Meal is also one of Amorsolo’s ample-sized canvases, which are increasingly difficult to find. (Lisa Guerrero Nakpil)
PROPERTY FROM THE HON. GEORGE A. MALCOLM COLLECTION Baguio Trail signed and dated 1940 (lower left) oil on canvas 18" x 23" (46 cm x 58 cm) PROVENANCE Acquired directly from the artist Indeed, Baguio Trail showcases another remarkable feature of Fernando Amorsolo’s oeuvre: the painstakingly detailed foreground, where every element receives meticulous attention. Simultaneously, the background appears shrouded in a thick mist, with each feature blending with the shadows. With his masterful strokes and exemplary use of color, this piece breathes with life. The distinct mountain air permeates the scene, almost palpable and perceptible to viewers, as if they were looking out a window. Amorsolo’s masterpieces capture the light and colors he observed during his travels to far-flung provinces. Witnessing the grandeur of the Philippine landscape with his own eyes enabled him to capture its hues and tonal variations with precision in his canvases, as well as to create authentic representations of Philippine topography, people, and daily life. Moreover, his deep understanding of color placement, shadows, and highlights further enhances the realism of his work. The Cordilleras, especially Baguio City, served as both a favorite retreat and a frequent subject for Amorsolo. The mountain scenery, often depicted in his paintings, not only showcases its natural beauty but also provides a picturesque backdrop for the hardworking rural folk he often portrayed, emphasizing the harmony between nature and Filipino life. This 1940 piece, painted a few years before the Japanese occupation, undeniably captured the essence of a peaceful Philippines, a time of simplicity and grace. The maestro depicted a group of people, perhaps a family, on a mountain trek. They were carrying big baskets containing their belongings–or products to sell–as they traversed the rocky and steep mountainside. The sun is high up in the sky, but the altitude and the trees around neutralize the heat. The rise of modernism posed as one of the greatest threats to Amorsolo’s career. As many artists shifted to abstraction and abandoned the Amorsolo school of art, collectors’ tastes also changed, and his market gradually declined. Subsequently, many people criticized and made harsh remarks about him and his work. Still, the maestro persisted in his artmaking and stayed true to his light and palette for as long as he could hold a paintbrush, a testament to his perennial artistic prowess and dedication to the arts. (Jessica Magno)
Puerta Real de Bagumbayan signed and dated Manila, 1938 (lower right) oil on canvasboard 12 1/2" x 16" (32 cm x 41 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE Private collection, Manila In the 1930s, Fernando Amorsolo’s life in the academe flourished alongside his artistic career. Painted in 1938, this piece belongs to the maestro’s golden era masterpieces. In the same year, he was appointed as the acting director of the University of the Philippines School of Fine Arts, serving as the Institution’s third director since its establishment in 1909. Before this, his sunlit, bucolic scenes also earned him a promotion as assistant professor of landscape and drawing from life. As he gained attention and recognition, Amorsolo’s commission demands also doubled. However, he continued teaching alongside being a professional painter, providing encouragement and inspiration to his students. Amorsolo’s pastoral landscapes were known to have taken inspiration from his travels to the countryside, often with his family, immersing himself in the rhythms of provincial life and the beauty of the natural landscape. But in between short breaks from his teaching post at UP or doing commissions in his studio, Amorsolo would also traverse the streets of Manila, basking in the noise and sights of the bustling city. Puerta Real de Bagumbayan was one of Amorsolo’s plein-air paintings around Manila. Puerta Real, which translates to “royal gate” in English, was one of the original gates of Intramuros, and an important landmark that welcomed visitors and travellers into the city. Puerta Real de Bagumbayan, however, was strictly used for state functions. It was originally located at the end of Calle Real del Palacio, now General Luna Street, facing the village of Bagumbayan–hence the name–now Rizal Park. In this idyllic landscape, Amorsolo guides the audience’s gaze from the sumptuous trees to the royal gate, almost hidden by the blossoming greens. Sunlight filters delicately through the sprawling canopy of trees, casting dappled shadows across the grassy terrain below. Executed with remarkable softness and sensitivity, the composition radiates warmth and tranquility, revealing the artist’s unmatched ability to capture the luminosity of the Philippine sun. Both Amorsolo and the Puerta Real withstood the test of time and hold a historical and cultural significance in the Philippines. Despite the destruction and changes they endured, they remained standing to serve their purpose, leaving a lasting legacy. Now, the Puerta Real garden is one of the sights to marvel at in Intramuros, often rented for functions and events. Amorsolo’s influence, on the other hand, will forever live on in the works he left behind and in the lives he touched through them. (Jessica Magno)
PROPERTY FROM THE HON. GEORGE A. MALCOLM COLLECTION Lavandera signed and dated 1940 (lower right) oil on canvas 17" x 14" (43 cm x 36 cm) PROVENANCE Acquired directly from the artist LITERATURE Malcolm, George A. American Colonial Careerist: Half a Century of Official Life and Personal Experience in the Philippines and Puerto Rico. Boston: The Christopher Publishing House, 1957. Title mentioned on page 218 in the chapter "Of Philippine Culture in its various forms" Fernando Amorsolo’s lavandera works are amongst the most recurring themes within his oeuvre. An artist with a predilection for all things Filipino, it is no surprise that he admired the feminine pulchritude and emulated it throughout his works. He was trained in the Classical-Romantic style of art, where the nude represented the ideal of beauty. Through it, the artists portray the gods and the naiads, then the bathers and the washerwomen. In Amorsolo’s oeuvre, the women — and by extension, the nude — was the country itself, a beauty beyond all compare. Women outnumber the men in his many bodies of work, and that, too, is perhaps intentional. In the face of rapid modernization, the dalaga becomes Amorsolo’s assertion of the country’s ideal beauty, the symbol with which the national identity is reaffirmed. This 1940 lavanderas work tethers right at the edge of the Second World War. The previous decade saw an even faster acceleration of change, and in response, Amorsolo steadfastly continued his bucolic pastoral masterpieces. His daughter, Sylvia Amorsolo-Lazo, wrote of his father’s activities in an email correspondence dated 23 June 2016 (as published by Jane Allinson, Ph.D. in the second volume of Amorsolo: Love & Passion): “Since there are so many streams or rivers in rural places as well in some urban places, then, and Papa took his going to these places for his on-the-spot sketching and paintings, I think his lavanderas were mostly painted in the provinces of Laguna and Bulacan, and along the Pasig River.” These provincial excursions gave him a much-needed break from his commissioned works — by the end of the 1930s, Amorsolo’s pastoral works had become so renowned that he had a notebookful of his usual subjects locked and ready for his clients’ perusal — but also a fresh air to fully reimmerse himself within the Philippines’ beautiful topography. This particular lavandera shows a frontal view of the young woman, as opposed to the usual view from behind that Amorsolo employs. On either side of her sit a batya and a banga, and even more notably, he takes a closer look at both the young woman and the landscape she is in. Bamboo trees frame the right side of the canvas, with the stalks crossing over to the left side. The calm, green water is still, not a ripple in sight, and the act feels strangely intimate. The famous Amorsolo light shines behind her from between the trees, bathing her in an ethereal glow. Amorsolo’s dalagas, more than anything, is a proclamation of the beauty of our women and our country, with the lavanderas ranking among some of the artist’s most enduring subjects. They are, according to Amorsolo, as Mrs. Sylvia recounts, the “ideal, beautiful Filipinas who lived in a pastoral landscape of woods, streams, and mountains." Indeed, as Amorsolo returns again and again to the local washerwomen, he depicts a sweet and dignified young woman, armed with the strength of character that Amorsolo reveres and respects within his Filipino dalaga. (Hannah Andrea Valiente)
Attributed Fernando Amorsolo, Filipino (1892-1972) oil on canvas "Nude Woman Getting Dressed". Signed and dated 1969 lower right. Well framed and in good condition. Work measures 24" x 15" Frame measures 26 1/2" x 17 3/8" 16A Prev # 1777
Attributed To: Fernando Amorsolo (1892-1972) oil on canvas "Manila Bay". Signed lower right. Well framed and in good condition. Frame measures 36 1/2" x 46 3/4" Work measures 30" x 40" 16A
Fernando Cueto Amorsolo (Filipino, 1892-1972), "La Lavandera," 1937, oil on board, signed and dated lower right, board: 13"h x 17"w, overall (with frame): 16"h x 20"w. Provenance: Gifted to owner's grandfather, Harry Lester Terwilliger, in the early 1950s as a retirement gift from Pacific division of Ingersoll Rand, where he was the head of the division; thence by descent.
Philippines Painting attributed to Amorsolo, seascape fishing boats and figures. Fernando Amorsolo (Filipino, 1892–1972) oil on canvas, seascape fishing boats and figures. Painting size 30 x 40inches. Overall with frame 36-1/2 x 47 inches.
PROPERTY FROM THE VIC SALTA COLLECTION Roosters Study undated graphite on paper 8” x 10” (20 cm x 25 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo Lazo confirming the authenticity of this lot Fernando Amorsolo’s versatility is evident in the thousands of paintings and drawings he produced throughout his career, using a range of media, including oil, acrylic, pastel, charcoal, and graphite. Using different media allowed Amorsolo to capture the essence of his subjects in different ways. Apart from his idyllic countryside paintings, he also made drawing studies of farmers doing their cyclic chores, city folk going about their daily routines, and their farm and domesticated animals. In these sketches, the maestro expertly captured the hard work and simplicity of country life, evoking nostalgia and appreciation for bygone days. (Jessica Magno)
a.) Untitled signed (lower right) pen and ink on paper 10 3/4” x 13” (27 cm x 33 cm) b.) Untitled signed (lower left) pen and ink on paper 10 3/4” x 13 1/4” (27 cm x 34 cm) c.) Untitled signed (lower left) pen and ink on paper 10 3/4” x 13 1/4” (27 cm x 34 cm)
Untitled signed and dated 1948 (lower left) watercolor on paper 6” x 9” (15 cm x 23 cm) There is no denying Fernando Amorsolo’s sublime artistry and contribution to Philippine art. During his career and beyond, he graced the country with his resplendent masterpieces, especially with his sunsoaked under the mango tree and harvest season themes, and taught and inspired many artists as well. Despite the rough, hasty strokes and layers of watercolor, Amorsolo nevertheless captured the countryside life in this untitled work. In view is a group of people resting under the shade of a humongous tree, presumably waiting for their families who are backbreaking in the rice fields under the blazing heat. Needless to say, each of Amorsolo’s works, regardless of the subject and materials used, is a testament to his impeccable talent and versatility. (Jessica Magno)
Attributed Fernando Amorsolo, Filipino (1892-1972) oil on canvas "Nude Woman Getting Dressed". Signed and dated 1969 lower right. Well framed and in good condition. Work measures 24" x 15" Frame measures 26 1/2" x 17 3/8" 16A Prev # 1777
Fernando Cueto Amorsolo (Filipino, 1892-1972) Cooking Under the Mango Tree 1947 signed, date and located F. Amorsolo MANILA - 1947 (lower left) oil on canvas 76 x 101 cm (30 x 39 3/4 in)
Fernando Cueto Amorsolo (Filipino, 1892-1972) In the Rice Field 1931 signed, dated and located F. Amorsolo MANILA 1931 (lower left) oil on canvas 56 x 74 cm (22 x 29 1/8 in)
FERNANDO AMORSOLO CUETO (San Fernando de Paco, 1892 – Ciudad Quezón, 1972). Primera mitad siglo XX "Joven filipina". Óleo sobre lienzo Presentamos Joven filipina, obra atribuida a Fernando Amorsolo Cueto (San Fernando de Paco, 1892 – Ciudad Quezón, 1972). Una joven contemplativa en un interior cotidiano protagoniza el espacio. Una escena que típicamente podemos encontrar entre la extensa obra del pintor. Popularmente, Amorsolo es conocido tanto por sus escenas rurales, que encarnan el estilo de vida popular filipino, como por su faceta como retratista. Sus protagonistas suelen ser mujeres, o bien vestidas a la manera folclórica, realizando tareas propias del campo; o bien retratadas en un ambiente cotidiano. Así, Amorsolo destacó entre los principales retratistas del siglo XX de la élite filipina tanto de figuras ilustres y prominentes de la alta sociedad, así como de sus familiares. Entre su extenso catálogo pictórico encontramos numerosos dibujos preparatorios a lápiz, donde destacamos los estudios anatómicos. Respecto a Joven filipina, podemos asociar el lienzo presentado con un dibujo vendido en Leon Gallery en enero de 2026. Se trata de un boceto de una joven sentada en una silla de mimbre. La postura con el brazo derecho flexionado apoyándose en el rostro sugiere una vinculación directa entre el dibujo y la obra final. En concreto, respecto a la postura, la mirada contemplativa apoya la hipótesis de la asociación entre ambas obras. También podemos encontrar similitudes en el peinado o la vestimenta, donde destaca el lazo que adorna la cintura. Asimismo, el esquemático esbozo de la silla de brazos de mimbre nos remite a la silla del original en el lienzo. Por otro lado, encontramos una segunda obra que podemos relacionar con Joven filipina. Se trata de Cornelia, vendido en Leon Gallery en septiembre de 2011. Este óleo sobre lienzo no solo mantiene una postura similar, sino que se podría plantear un parecido fisionómico entre ambas protagonistas. Lo que nos lleva a plantear la hipótesis de que la retratada fuera Cornelia, la esposa de un pariente lejano de la familia Amorsolo. Otros estudios mencionan a Lee como protagonista, tal y como sugiere el nombre escrito sobre el cuaderno en el ángulo inferior derecho de la obra. En la esquina inferior izquierda se puede leer la firma “F. Amorsolo”. Para corroborar la autenticidad de esta obra el lote adjunta un certificado del laboratorio Icono I&R del año 2023 donde se justifica que los pigmentos de la tela son acordes y realizados al mismo tiempo que la firma, y se encuentran bajo la capa de barniz resinoso. Con el estudio aportado junto al análisis de laboratorio podríamos concluir que la firma es contemporánea al resto de pigmentos. Medidas:148 x 112 cm
Fernando Amorsolo (Filipino, 1892-1972) Rice Fields Landscape with Workers, Oil on canvas, Signed F. Amorsolo lower right, 9 5/8" x 15", Framed-14 1/2" x 19 1/2"
Philippines Painting attributed to Amorsolo, seascape fishing boats and figures. Fernando Amorsolo (Filipino, 1892–1972) oil on canvas, seascape fishing boats and figures. Painting size 30 x 40inches. Overall with frame 36-1/2 x 47 inches.
Fernando Amorsolo (Philippines 1892-1972) original watercolor of woman. Amorsolo was the first National Artist of the Philippines. Signed lower right. Dated 1962 lower right. Excellent condition. Art measures 13.5" x 16", frame measures 16.5" x 19".
Vinta signed and dated 1948 (lower right) oil on canvas 16" x 20" (41 cm x 51 cm) PROVENANCE Private collection, Manila Taking center stage in this 1948 piece is a colorful Vinta, a traditional outrigger boat primarily found in the Mindanao region. Its distinct features include a large, colorful sail, a curvilinear, vine-like design intricately carved along its body, and a narrow front with a prow resembling a crocodile's gaping mouth. They serve as a vessel for fishing, a form of transportation, and even locals' housing. Vintas are more than eye-catching vessels for the Zamboanguenos. They are symbols that define their vibrant culture and history. Every October, the Regatta de Zamboanga, a fluvial parade commemorating Vinta boats, is held in the region, as part of the month-long Zamboanga Hermosa Festival. In this 1948 seascape painting, maestro Fernando Amorsolo once again shed his effervescent light in portraying the life at sea of the Zamboanga people. Used as a fishing boat, fishermen hoist up the boat's patterned sail as they battle with the strong winds and rough ocean waves. Amorsolo's chiaroscuro technique and tropical light saturate his images' colors, giving them a dramatic effect. Certainly, Fernando Amorsolo's proficient artistry, coupled with his deep enjoyment of travelling and observing people, landscapes, and cultures, allowed him to provide an authentic representation of the Philippines and the Filipinos in his canvases. (Jessica Magno)
Lavanderas signed and dated 1949 (lower right) oil on canvas 30" x 24" (76 cm x 61 cm) P 4,000,000 Acquired directly from the artist by Paul H. Wood, President of the International Harvest Company, sometime in the late 1940s to 1950s Fernando Amorsolo's canvases always bear his predilection for all things Filipino. His dainty brushwork and expert colorism create masterpieces that proudly present the Philippines, each composition a celebration of its people, nature, culture, and traditions. Travelling to different provinces was one of his cherished forms of recreation. At times, he brings his whole family with him, while other times he rides a boat with his friends. These trips not only allowed him some time off from the confines of his commissioned works and art studio but also provided him with a breath of fresh air, basking in the glorious Philippine life and topography. Importantly, his observations and immersion among the locals enabled him to create genuine representations of his beloved country and its magnificent hues. While he was renowned for his sunlit, bucolic landscapes, sometimes populated by archetypal Filipino folk activities, Amorsolo also created a vast array of works in various media. His versatility is evident in the thousands of paintings and drawings he produced throughout his illustrious career, using a range of media including oil, acrylic, pastel, charcoal, and graphite. The maestro also made expert use of canvases, boards, and papers as his base, allowing him to capture the essence of his subjects in different ways. However, what remains a constant is his light, infusing his works with serene tranquility, regardless of the subject matter. Bearing the ever-present 'Amorsolo light,' Lavanderas is part of Fernando Amorsolo's collection of resplendent paintings, depicting two almost naked women by the stream. Stripped of their clothes, only a thin piece of cloth or tapis covered their bodies. They are engaged in a conversation as they do their laundry and clean their bodies. The sunbeam that touches their skins highlights their beautiful, cherub-like faces and golden complexions. An abundance of trees and lush greenery surrounds them, covering them from the blazing sun. Just as the sumptuous trees protect them from the heat, Amorsolo vehemently keeps his maidens' dignity. He has a penchant for situating his bare dalagas in seclusion—in the comforts of their rooms or in the middle of the forest, away from their peers' malicious eyes and minds. Amorsolo's masterful brushstrokes and exemplary use of color breathe life into his canvases, letting the fresh air permeate the image. In this particular piece, you can almost hear the gush of flowing water and swish of the leaves as they dance through the wind. Painted a few years after the Philippine liberation from the Japanese Occupation, this piece is a delicate balance between a dream and reality, capturing the essence of a peaceful Philippines, a time of grace and optimism. It encapsulates the tranquil, contented countryside life before the war broke out and years after it ended—how things are slowly going back to how they used to be. Indeed, light is a tool he ingeniously uses to enhance the emotional depth of his masterpieces. The light from his concocted sun graces his creations and saturates their colors. It adds brilliance to the verdant greens, creating an illusion of warmth that envelops his images and resonates with the viewers. Amorsolo's palette, characterized by bright and lyrical attributes, is a testament to his skill as a master colorist and a marvel that leaves the audience in awe. Undoubtedly, Fernando Amorsolo's skilled hands have crafted one masterpiece after another, each one highlighting the Philippines' timeless beauty and life. To this day, his influence in the art world remains strong, and many people want to acquire his works, drawn to the sheer beauty and aesthetic pleasure they offer, admiring the skill and vision that went into their creation. The enduring legacy of Amorsolo's oeuvre is a testament to the profound impact he has had on Philippine art. (Jessica Magno)
Portrait of Sra. Doña Marcela Meer and Don Nicolas C. Millar signed and dated 1954 (lower left) oil on canvas 28" x 36 1/2" (71 cm x 93 cm) Sra. Doña Marcela Meer Millar is something of a regular of National Artist Fernando Amorsolo. Counting at least two portraits made by the maestro, she hails from a family of lawyers, with her brothers Bibiano L. Meer, former Commissioner of Internal Revenue and the Bureau of Customs, and Pablo L. Meer serving as pillars in the legal and business sectors. Her marriage to local businessman Don Nicholas Millar was similarly star-studded. News of it graced the 10 April 1932 issue of The Sunday Tribune, with many of their guests including lauded politicians and citizens. Senate President Manuel L. Quezon, Secretary Jose Abad Santos, ex-senator Jose P. Laurel, and Carlos P. Romulo, among others, were invited. Then-Director of the Philippine Library and Museum Teodoro M. Kalaw was one of the couple’s sponsors. It was a marriage for the ages, a veritable who’s who of the country’s most influential people. Nearly two decades following their wedding, Sra. Doña Marcela Meer Millar and Don Nicholas C. Millar posed for a portrait by Fernando R. Amorsolo. Though perhaps better known for his scenic masterpieces, Amorsolo is a renowned portraitist in his own right. With portraiture a major source of income and clientele, it could be said that some of his best works are portraits, as befitting a master of figure painting. “He was famed as a great portraitist,” his daughter Sylvia Amorsolo-Lazo wrote in the introduction of the first volume of Amorsolo: Love & Passion. “When looking at an Amorsolo portrait, any viewer would feel as if one is seeing the subject in person.” His subjects’ eyes also seem to follow the viewer, almost as though they were alive and breathing. His portraits pose a different side between his “public” style, as shown by his genre works, and his “private” style, which is his portraits. As is the case with many of the best painters in history, Fernando Amorsolo has dedicated himself to the look of a well-dressed man or woman just as much as he does with genre works. In true retratista fashion, he gives Don and Doña Millar the embellishments that surmise the opulence of the 1950s high society – Doña Marcela’s high-quality woven baro’t saya contrasting Don Nicholas’ suit and tie. Thus, this work becomes a memento of a maestro’s exemplary skills, ranging from a snapshot of a bucolic countryside to a portrait of high society’s darlings. (Hannah Valiente)
PROPERTY FROM THE ALEX FRIEDER COLLECTION Market Scene signed and dated Manila, 1948 (lower right) oil on canvas 11 1/8" x 15 1/8" (28 cm x 38 cm) PROVENANCE Acquired directly from the artist by Alex Frieder, who persuaded President Manuel Quezon to create a safe haven for Jews fleeing the Holocaust in Europe. The result was the establishment of the Jewish Refugee Committee of the Philippine Islands in the late 1930s, which was responsible for saving the lives of more than a thousand Jews from Germany and Austria. Private collection, USA When liberation happened in the early months of 1945, the nation was in a frenzy; there was the constant question of whether to survive and push forward to living a hopeless (and godless) life or spiral down along with the whirlwind of destruction. There was an uncanny haze filled with the still resounding remnants of heavy artillery and bombs, the haunting memories of those who tragically lost their lives to the war, the ruins of irreplaceable heritage, and the fears and anxieties of a people who had lost their morals and morale amid the scramble for survival. Everything, and everyone, was in absolute uncertainty. When the war unfortunately struck, painting commissions significantly lessened for Filipino artists, including Fernando Amorsolo. Manila’s crème de la crème, including the Zóbel de Ayalas, the Aranetas, the Vargases, the Madrigals, all of whom were Amorsolo’s top clients at the time, restrained in art collecting, fearing for the uncertainty of their cherished troves amid the impending destruction. Furthermore, the war made scarcity a norm, taking a toll on Amorsolo’s much-needed painting materials. In his landmark monograph on the artist, critic Alfredo Roces details of an incident, in which “art collector Don Luis Araneta recounted how Amorsolo would come to his office with a small landscape and ask, somewhat hesitantly, if he could possibly get P30.00 for the work.” However, for Amorsolo, his brush and paint became his unfailing companions to the precariousness of the war— and became instruments of cathartic healing for the scarred artist. His daughter, Sylvia Amorsolo-Lazo, said in a recent interview with Leon Gallery, “Papa said, “There is no single moment that I remember that I don’t want to paint or draw. That was his passion that he kept on [painting and] drawing.” Even amid the violence, Amorsolo kept his art closer than ever, resolute in drawing and painting the horrors his countrymen were all helplessly facing. By the war’s end, Amorsolo labored to regain his life and living. “While Manileños in 1945 were picking up pieces to start life again, Amorsolo parlayed his artistic skill for needed cash and US army goods by doing quick sketches of GIs,” Roces writes in the all-important monograph on the artist. “His quick eye and sure pencil served him through those “honky tonk” days right after the war.” Once again, Amorsolo depicted the peace and idyll of his beloved countryside in his canvas. But this time, it was not anymore in the context of a renewed sense of Filipinismo amid the relentless surge of Americanization and the optimistic anticipation for the peaceful transition into becoming a fully sovereign nation. Amorsolo sought to capture an image of the not-so-distant past as mirrors reflecting that poignant yet tender hope for a new dawn. This petite market scene from 1948, painted just three years after the liberation of the Philippines, encapsulates a hopeful return to normalcy in the face of physical and moral destruction. The market serves as a metaphor for prosperity, its hustle and bustle evoking regaining the elusive path towards progress through the rebuilding of a reinvigorated sense of solidarity in the community. Amorsolo’s favorite sabungero is also remarkably present, symbolizing a people’s resilience, a nation breathing a great sigh of relief after a harrowing ordeal. Notice in the work how Amorsolo intended to position the lighting in the upper left corner of the work for it to cast its luminosity onto the woman in the center, acting as a metaphor for Inang Bayan encapsulating a nation’s shared aspirations for a renaissance, a homecoming to another promising day of life-sustaining pursuits. (Adrian Maranan)
PROPERTY FROM THE ALEX FRIEDER COLLECTION Marikina signed, dated and titled "Marikina, 1933" (lower left) oil on canvas 13" x 18" (33 cm x 46 cm) PROVENANCE Acquired directly from the artist by Alex Frieder, who persuaded President Manuel Quezon to create a safe haven for Jews fleeing the Holocaust in Europe. The result was the establishment of the Jewish Refugee Committee of the Philippine Islands in the late 1930s, which was responsible for saving the lives of more than a thousand Jews from Germany and Austria. Private collection, USA Pre-war Marikina was a painter's haven, where the rugged mountains of Rizal Province seemed to act as guardians of the town's verdant rice fields and the immaculate waters of the Marikina River serving as its lifeblood. In fact, the Marikina countryside was a favorite painting spot for artists during the early decades of the 20th century, a utopia for painters seeking to escape rapidly modernizing American Manila and to draw creative inspiration as they imbibe the fresh, tranquilizing countryside air. This predisposition for the countryside also came at a time when genre painting became the barometer of Philippine painting, as exemplified and spearheaded by Fabian de la Rosa and stimulated by the building of a Filipino national identity anchored to the nostalgia for the traditional and the pastoral, a reaction to the brisk Americanization brought by US colonial rule. Situated at the foothills of the mighty Sierra Madre, Marikina once possessed fertile lands suitable for rice farming and cultivation, with the once-pristine Marikina River running through the town's heart. While the shoemaking industry had already begun to flourish, soon earning the town its moniker of "Shoe Capital of the Philippines," Marikina was still primarily an agricultural settlement, dotted by paddy fields and trailed by carabaos used for plowing. Fernando Amorsolo, the greatest painter of his time, was one of those painters who became enamored with Marikina's charm, so much so that he would regularly sojourn to its environs and paint on the spot. Amorsolo may have first learned of the beauty of Marikina through his uncle, Fabian de la Rosa, who was his first art teacher and an avid Marikina frequenter during the pre-war era, producing several works now in display in major museums, including Mariquina Valley (undated, oil on plywood, UP Vargas Museum Collection) and Mariquina Road (undated, oil on canvas, The National Museum). In an interview with Neal Cruz for The Insurance Line in 1960, Amorsolo reminisced on his prime years, recounting his habitual trips to the countryside, where he and his fellow artist-friends would bring out their brushes and small canvases and paint the lush lands of the Marikina Valley. "My companions in those days were [Irineo] Miranda, [Dominador] Castañeda, [Jose] Pereira, and [Isidro] Ancheta," Amorsolo recalled. "We used to go to Teresa, Montalban, and Marikina. We would be out for days. When we were tired of painting, we would put down our brushes, take our guns, and go shooting birds." This petite 1933 oil painting was one of those works Amorsolo conceived in one of his Marikina excursions. The work possesses the exuberance of his plein air paintings, as evidenced by its small dimensions, the quick, thickly applied brushstrokes, the purity of the colors, and Amorsolo's dynamic composition, which captures an uncontrived snapshot of the moment. Amorsolo's loose rendering of the human figure and the carabao, and the white dabs of paint applied liberally, which represent the patches of water reflecting off the rays of the midday sun, exude the maestro's spur-of-the-moment practice vis-à-vis his more refined studio works. For Amorsolo, his countryside excursions and open-air painting sessions gave him a genuinely liberating feeling, a much-needed respite from his long line of commissions that always catered to his clients' desires. It was also a breather from his bureaucratic responsibilities as instructor of both landscape painting and drawing from life classes at the University of the Philippines School of Fine Arts. As Amorsolo confided in a 1929 interview for The Independent and articulated in writing by Ralph W. Hawkins, "When painting a portrait, he explained, he is bound by the taste of the subject…. He feels stifled, fettered. In painting nature studies, his fetters are cut loose, and he paints in absolute freedom of spirit. And that is how he wants to paint." Amorsolo is buried at the Loyola Memorial Park in Marikina, in the same place he once cherished in his lifetime. The maestro lies in repose on a site he personally chose, a spot overlooking the beautiful Manila sunset. Thus, the work then becomes a memento of a maestro communing in perpetuity with the land whose bucolic past he immortalized in canvas. (Adrian Maranan)
Sabungero signed and dated Manila, 1937 (lower left) oil on canvas 13" x 17 1/4" (33 cm x 44 cm) PROVENANCE Private collection, USA Fernando Amorsolo’s Sabungero, created in 1937, belongs to what many consider his “Golden Period.” With the American occupation of the Philippines seeing the Philippines on the brink of rapid modernization, debates regarding Philippine independence were widespread, with one faction in favor of immediate independence and the other seeking more time through a plebiscite. Torn between staying true to the traditional Filipino and riding the wave of modernization, various art forms were born, each leading credence to their side. The balagtasan, for once, was an effort to revive the duplo. Some 8,000 people packed the Olympic Theatre to listen to Jose Corazon de Jesus extol the virtues of the traditional dalaga. At the same time, the first attempts of Philippine literature in English were published in this decade, with Jose Garcia Villa’s short stories, Zolio Galang’s ‘Child of Sorrow,’ and Paz Marquez Benitez’s ‘Dead Star,’ among others. Amorsolo’s Golden Period, which spanned the 1920s to the early 1940s, was a period of nostalgia. With the search for national identity prevalent, the pastoral life was romanticized, the dalaga glorified. Amorsolo’s works have captured that yearning for the past, cementing his place in Philippine art history. The works created during this era are among those from Amorsolo’s creative peak, seeing him at his best and brightest. He was flexing his creative dexterity, laying down the foundation for the creative giant Amorsolo that he would become in the coming years. Here, Sabungero embodies what made Amorsolo a household name. Here, he focused on a specific rural pastime – cockfighting, or sabong. Cockfights are a major social function in the barrios of the Philippines, with records going back to the precolonial era when Antonio Pigafetta recorded it during Magellan’s 1521 expedition. The first wave of Filipinos arriving in Hawaii brought the sport into the foreign land, so beloved was this practice. Cockfighting is emblematic of the quintessential Filipino traits. More than a social event, the sabungan or the cockpit may even be seen as a threshold between childhood and manhood. A son tasked with their family’s beloved rooster is a symbol of trust. Though it may be easy to depict the excitement of cockfighting in media res, Amorsolo instead depicts the moments between fights. Beneath the shade of a tree, a man checks on his rooster. With a cigarette pressed between his lips, Amorsolo portrays the quiet and loving relationship of the farmer and his fowl. Inasmuch as cockfighting is an adrenaline-racing fight, it is also a treasured hobby. For many sabungeros, their roosters are part of the family, as beloved as their children and just as taken care of. There is no denying Amorsolo’s longevity in Philippine art history. His works evoke the ordinary and daily life of the rural Philippines, suffused in his trademark light. His impact was cemented even further when he was posthumously conferred the National Artist Award in 1972, the distinction’s first awardee. (Hannah Valiente)
Site of U.P. Diliman signed, dated and inscribed "UP Site Feb 1947" (lower right) oil on canvas 18" x 24" (46 cm x 61 cm) PROVENANCE Private collection, USA Prior to the university’s official transfer to Diliman in 1949, officials of the University of the Philippines (UP) had been in deep talks about relocating the university out of Ermita, Manila. The city’s rapid urbanization led to a rise in the population from 1903 to 1939. Paired with the university’s population increase, the UP Board of Regents was in desperate need of solutions. Relocating UP to a less urbanized site was an issue to ponder from early on. Thoughts of resettlement were envisioned as early as 1916 with the revised Burnham plan in the talks of a possible new campus of the “heights behind Manila.” In 1922, UP President Guy Potter Benton proposed a 100-hectare site in San Juan, Rizal, though the plan did not come to fruition. Planning for UP’s relocation picked up speed during the Commonwealth era. Former Senate President Manuel Quezon became the Commonwealth’s president in 1935, and with him came reinvigorated resettlement talks. His initial plans included moving the campus to Tagaytay, a town some sixty kilometers from Manila. Though this plan failed, he continued to insist on the transfer of the university, holding a meeting with his cabinet and UP officials regarding his plans in August 1937. Participants of this meeting enumerated possible locations for the new campus: Baguio, Los Baños, Alabang, Tagaytay, Novaliches, and Marikina. By December of the same year, Quezon created the Committee of Education Policy, a committee tasked to study UP’s relocation. By 1939, the committee had submitted its report to the Board of Regents, favoring the Marikina site, just east of the Diliman estate and about ten kilometers from central Manila. Thus, Quezon seemed hellbent on making this dream of UP’s relocation true. Needless to say, Quezon’s Diliman dreams came to a halt, with the Second World War entering the Pacific Hemisphere in the years leading up to the 1940s. During the destructive war, the UP Ermita site was among the most destroyed buildings, making relocation a postwar expedient. When the Oblation statue was transferred to Diliman in February 1949, it signalled the official and full relocation of UP. Two years before UP’s official resettlement, Fernando Amorsolo’s Site of U.P. Diliman captured the still-pastoral view of the land. Amorsolo had been an instructor at the UP School of Fine Arts since 1914; by 1938, he had replaced his uncle Fabian de la Rosa as Director of the college. Diliman then was a vast expanse of green grass and greener trees. From a distance, one can see a series of mountain ranges, with the white clouds covering the blue skies. One of Quezon’s primary requirements for a new UP campus is a more pastoral space. According to him, Manila has become a raucous place, with the students too embroiled in socio-political activities; he was “tired of seeing the U.P. students making demonstrations or approving resolutions on public or political questions,” as he had said in a 1938 meeting with the student council. As such, Diliman became the perfect remedy to insulate students from radicalism and to reduce the political noise in Manila. This self-contained campus is meant to isolate radicalism and create a truly academic space devoid of unnecessary disturbances to the scholastic tranquility. It is isolated from the vulgar world of Philippine politics. Though the years would prove that this supposed insulation would not work, the pastoral landscape of Diliman still remains. It is an oasis of green in an otherwise concrete jungle. Fernando Amorsolo’s Site of U.P. Diliman is a glimpse of the self-sustained campus before it was as it is known today. “The paintings of Fernando C. Amorsolo overflow with sweetness and optimism,” art historian Eric Torres said, and indeed, this work is proof of Amorsolo’s tenacity throughout history. His genre paintings are imbued with a luminous and romantic portrayal of the Philippines; the characteristic glow of his canvas is almost a portal that brings its viewers to the past. (Hannah Valiente)
Philippines Painting attributed to Amorsolo, seascape fishing boats and figures. Fernando Amorsolo (Filipino, 1892–1972) oil on canvas, seascape fishing boats and figures. Painting size 30 x 40inches. Overall with frame 36-1/2 x 47 inches.
Fernando Cueto Amorsolo 1892 - 1972 Cooking under the mango tree signed F. Amorsolo and dated 1958 (lower right) oil on canvas 61.5 by 86.5 cm. 24¼ by 34 in. Executed in 1958. ---------------------------------------------- 阿莫索羅 1892－1972年 在芒果樹下煮飯 款識 F. Amorsolo，1958（右下） 油畫畫布 61.5 x 86.5 公分 24¼ x 34 英寸 1958年作
PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION The Offering signed and dated 1965 (lower right) oil on canvas 25" x 33" (64 cm x 84 cm) There can be no denying Fernando Amorsolo’s influence on Philippine art. So heavily intertwined was he with the aesthetic of pre-war Philippines, it is no surprise that it’s his works that come to mind when thinking of Philippine visual art, the Amorsolo sunlight that arguably is the singular, most iconic trait born out of centuries-worth of talents. In contrast to his bombastic artistic dexterity, Amorsolo himself shies away from the spotlight, so meek and mildmannered that it is almost hard to believe that it was he who led an artistic movement so well-received that it became the standard for his contemporaries and the next generations to hold themselves to, either in accordance with or in rebellion against. By the 1950s, the Amorsolo School had weathered the constant pushback of Philippine modernism. As the country has been tempered by the war, the classical realism of the Amorsolo School no longer became appealing. It is dated, the new decade said, given the current climate. However, Amorsolo persevered. Except for his darker war era paintings, he remained true to his pastoral Philippines vision, capturing rural views under his famed Amorsolo sunlight. His usual muses – the dalagas, the vendors, the landscapes – found themselves back onto his canvases, gracing the world once again with their beauty. However, that does not mean a bullheaded stride back into the past with no introspection for the present. Amorsolo’s light is a distinct and conscious decision amidst years of harrowing experiences, an image that recalls not naïveté but nostalgia born through his decision to resume his business. Less common of his Golden Period subjects are his historical native scenes – amongst his mango tree paintings and the lavanderas frolicking at the rivers stand his depictions of pre-colonial Philippines, often through the lens of women. One woman he frequently painted was the legendary Princess Urduja, the ruler and warrior of the dynastic Kingdom of Tawalisi in Pangasinan. In the same pre-colonial vein, this 1965 work, The Offering, follows Amorsolo’s multiple versions of a semi-nude Filipina making an offering to pagan deities. Offerings to the anitos and diwatas can range from simple offerings of incense to elaborate food offerings, for all sorts of prayers, like for protection, for prosperity, and for harvest. This Amorsolo piece shows a sort of offering dome at one’s house. Depicting three figures, the focus is on the central woman in the foreground, neck bowed and shoulders down as she holds a wooden cross. The figures behind her are in different levels of reverence, with one in a similar stance as her and the other with his forehead pressed to the wooden floor. Indeed, Amorsolo’s historical pieces are best described by Jane Allinson. In Chapter VI, Amorsolo and the American Experience, of the book Maestro Fernando C. Amorsolo: Recollection of the Amorsolo Family, she said: “Here the artist subtly bathes the composition in the glow of an unseen fire. Warm, highly keyed colors lend excitement to the picture; yet the focal point rests on the reverent look in the woman’s face. The pagan offering is presented with grace and respect.” (Hannah Valiente)
Barrio Fiesta signed and dated 1949 (lower right) oil on canvas 24" x 30" (61 cm x 76 cm) Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazo confirming the authenticity of this lot PROVENANCE Private collection, Manila LITERATURE Amorsolo-Lazo, Sylvia, Jane Allinson, Carlomar Archangel Daoana, and Cid Reyes. Amorsolo: Love and Passion (Volume II: Landscapes and Other Works). Quezon City: Fernando C. Amorsolo Art Foundation, Inc., 2018. Full-color illustration and painting description on page 232. While his radiant sunlight proves to be a strong point of Fernando Amorsolo's landscapes, his ingenious employment of shadows is also commendable. Amorsolo's adroit command of light and shadow resulted from his short travels across the country. Witnessing the grandiosity of the Philippine landscape with his own eyes enabled him to capture its colors and tonal intensity in his canvases precisely. Additionally, his immersion with the townsfolk allowed him to give an accurate portrayal of their everyday lives and activities in his paintings. In Barrio Fiesta, painted in 1949, Amorsolo's vivid hues bring to life the local folks' celebration of a local feast. The painting depicts an ongoing procession, with two women carrying flowers and offerings leading the trail to the nearby chapel and a marching band following suit. Outside the parish, more people are gathered. Processions are a common sight in Filipino festivals, a symbol of the community's faith and unity. Accordingly, the bustling activities throughout the town come to a pause as the procession passes them by—both in respect and reverie. On one side of the road, Amorsolo placed a makeshift market brimming with fruits and vegetables. Meanwhile, the opposing side is lined with trees and nipa huts. A blooming fire tree stands out, its vibrant orange hue intensifying the warmth and liveliness of this painting. The light from his concocted sun graced his creations, saturating their colors. It adds brilliance to the verdant greens and heartwarming scenery he portrays, enveloping them with warmth and nostalgia that resonates with the viewers. Amorsolo's palette, characterized by bright and lyrical attributes, is a testament to his skill as a master colorist and a marvel that leaves the audience in awe. A cultural phenomenon in his lifetime, Fernando Amorsolo possessed a unique ability to transform any blank canvas into a vibrant image of his beloved country and compatriots. His genre and historical paintings not only offer appealing landscapes and portraits but also elicit a great sense of belonging to the Filipino nation. (Jessica Magno)
Mealtime signed and dated 1942 (lower left) oil on canvas 11" x 9 1/4" (28 cm x 23 cm) LITERATURE Roces, Alfredo. Amorsolo. Makati: Filipinas Foundation Inc., 1975. Fullcolor illustration and painting description on page 84. At the heart of Fernando Amorsolo's oeuvre lies his brilliant colorism and deep adoration for his home country, each composition a reflection of Philippine culture, heritage, and history. However, contrary to his sun-infused canvases, Fernando Amorsolo's life and career have also seen the darkest of days. The rise of modernism was one of the greatest threats to his career. With many artists shifting to abstraction and abandoning the Amorsolo school of art, collectors' tastes also changed, and thus, his market came to a gradual decline. Subsequently, many people criticized and made harsh remarks about him and his work. Like many others, the advent of the Second World War proved to be a trying time for the maestro. With the ongoing war, artists could no longer roam around as freely as before to practice on-the-spot painting, much less sell their works, as almost everyone was confined to the safety of their homes. Moreover, the maestro also had health difficulties due to his diabetes. The death of his first wife, Salud, in 1931 also bore a hole in his life. But just like the sun that the storm has darkened, Amorsolo nevertheless bounces back every time. Regardless of the chaos around him, as well as what his critics say, he persisted in his art making and stayed true to his ‘light’ and palette. Amorsolo worked diligently to support his growing family. Especially after he remarried Maria del Carmen and had eight more children. Even during the war, he continued to paint relentlessly, documenting the harrowing events unfolding before him through sketches and paintings. These efforts show not only his passion for his craft, but also what kind of a person and a father he was—one who will set aside his personal feelings for the betterment of his family. Mealtime, painted in 1942, is a testament to Amorsolo's perennial skills and undying love for his family. With his wife and daughter as his models, his skilled and delicate brushstrokes delineated the close familial affection of the Filipinos, as seen in the mother's tender gaze towards her child enjoying her mealtime. The Amorsolo light, though it illuminates the scene, is not the source of the warmth enveloping the piece. Instead, it emanates from the affectionate scene unfolding before us. "His art reaches out; it does not intimidate, confound or alienate," May Lyn L. Cruz, curator for the Metropolitan Museum of Manila, writes about the maestro. His works consistently highlight the rich Philippine culture and tradition, sparking a sense of warmth and nostalgia among viewers. Fernando Amorsolo's illustrious career has earned him numerous awards and recognitions, including the title of the National Artist of the Philippines. Consequently, his works have been the centerpiece of multiple art spaces, including exhibitions, museums, galleries, and private collections. (Jessica Magno)
PROPERTY FROM THE JOSE ABAD LOPEZ COLLECTION Nude signed, dated February 1960 and inscribed "Al Amigo Dr. J.L. Abad" (lower right) oil on canvas 11 1/2" x 15 3/4" (29 cm x 40 cm) PROVENANCE Acquired directly from the artist A key figure in Philippine art history, Fernando Amorsolo graced the country with his resplendent masterpieces for as long as he could hold a paintbrush. To date, one can easily spot an Amorsolo piece in government and private offices, museums and galleries, as well as in school and university buildings. His works have also been reprinted and reproduced in several books, postcards, tourism pamphlets, and postage stamps. While he was renowned for his sunlit, bucolic landscapes, sometimes populated by archetypal Filipino folk activities, Amorsolo also created a vast array of works in various media. His versatility is evident in the thousands of paintings and drawings he produced throughout his illustrious career, using a range of media including oil, acrylic, pastel, charcoal, and graphite. The maestro also made expert use of canvases, boards, and papers as his base, allowing him to capture the essence of his subjects in different ways. However, what remains a constant is his light, infusing his works with serene tranquility, regardless of the subject matter. Besides his brilliant landscapes and genre scenes, Fernando Amorsolo also shed his effervescent light on his dalagas and nude paintings, as seen in this 1960 piece. Embodying his romantic style, Nude is a conspicuous demonstration of the maestro's great finesse in the art field. His fine brushwork and profound colorism skillfully delineated a female figure, capturing every dip and curve of her body. Despite featuring a naked body, this portrayal was not to gratify or entice the spectator. Amorsolo's women, from Cid Reyes' description, "still conveys an innate modesty and decency, propriety and grace." While the public display of the female body–even a tiny slip of skin–was seen as an act of indecency during Amorsolo's time, he managed to keep his figures' dignity intact. Rather than eroticism, Amorsolo's nude compositions provide an in-depth and aesthetic appreciation of the female body. This theme of the maestro's works also exudes a sense of empowerment and confidence within his subjects. 'Though shorn of her clothes, she did not feel naked, was comfortable in her own skin, with not a tinge of guilt or shame suggested in her body language,' Reyes notes on Amorsolo's nude paintings. Amorsolo's long years of artmaking, spanning various subjects and mediums, culminated in his renowned style and lighting; his works provided inspiration to succeeding generations of artists. Even after his death, his influence and undying legacy in the art scene continue to inspire and instill a deep sense of national pride, imbued in the large body of artworks he left, ranging from sketches and studies to portraits and his famed sunlit, bucolic landscapes. Amorsolo's illustrious career has earned him several awards and recognitions, including the distinction of being the first National Artist of the Philippines. (Jessica Magno)
PROPERTY OF A DISTINGUISHED LADY Portrait of Enrique Zóbel de Ayala signed (lower left) ca.1920s pen and ink on paper 15” x 10 1/2” (38 cm x 27 cm) At age 16, Amorsolo would begin that inexorable climb that would make him the most famous artist of his time. He would win the first of his accolades, a contest organized by the an influential organization called the Asociacion Internacional de Artistas de Manila, for an exposition for the fine arts in 1908. The following year, he would enter the School of Fine Arts of the University of the Philippines, where his uncle was also a professor. Amorsolo would be among the first six graduates to complete the then-five year course. Upon graduating, he would do well enough in a competitive examination to be recruited as a teacher in Elementary Drawing. He would work at the publishing firm of Cacho Hermanos where Jorge Pineda reigned supreme as the remarkable illustrator of the Renacimiento. It was at Cacho Hermanos where Amorsolo would first cut his teeth, under the watchful eye of Pineda, who he would eventually eclipse in commercial success. In this engraving, probably intended as one of the Renacimiento’s profile pieces or cover art, Don Enrique Zóbel de Ayala is shown, natty in a business suit, walking jauntily along carrying briefcases overflowing with corporate papers naming the burgeoning Zóbel holdings. These included Filipinas Compañia de Seguros, the country’s first Filipino fire-insurance company, which was co-founded by him alongside his brother Fernando and his brother-in-law Don Antonio Melian, Conde de Perecamps. There is also Hogar Filipino, also founded with the Count, San Miguel Brewery, and of course, Ayala y Compañia. It would be through works such as this that he would attract the attention of the industrialist Don Enrique whose concerns among others also included the distillery Ginebra San Miguel. He would commission Amorsolo to design the label of the avenging archangel slaying the devil-serpent that is still used to this day. In 1919, Zóbel de Ayala would bankroll his education in Spain in the vey same academy, the Real Academia de Bellas Artes de San Fernando, where all the Filipino greats had gone from Luna and Resurreccion Hidalgo. Scholar Ramon N. Villegas once noted that Amorsolo’s test results were so excellent that he was invited to join the academy not as a student but as an instructor. Amorsolo would say in later years that — thanks to Don Enrique’s patronage — it was in Madrid that his art became what it was always destined to become, basking in the dramatic draughtsmanship of Diego Velasquez and the impressionistic light of Joaquin Sorolla (1863 - 1923).
