Eduardo Castrillo Sold at Auction Prices

Sculptor, b. 1942 - d. 2016

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  • Eduardo Castrillo (1942 - 2016)
    Jul. 25, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱40,000 - ₱52,000

    Untitled signed and dated 1978 (verso) H: 14 1/2” (37 cm) L: 6 1/2” (17 cm) W: 2 3/4” (7 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jun. 13, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱2,000,000 - ₱2,600,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC Rhythmic Movements brass H: 264" (671 cm) D: 108" (274 cm) PROVENANCE Acquired directly from the artist 1971 proved to be a fortune-laden year for Eduardo “Ed” Castrillo. At the age of 29, he received the Republic Cultural Heritage Award, which was the nation's top art honor at the time; the Araw ng Maynila Centennial Award; the Jaycees' Ten Outstanding Young Men (TOYM) Award; and the Outstanding Makati Resident Award. He also mounted two solo exhibitions: one of his jewelry at Galerie Bleue and the other at Solidaridad Galleries, featuring his hammerouts and welded steel forms. More importantly, it was also in this fruitful year that Castrillo was selected to represent the Philippines in the Paris Biennial, setting the stage for his international career. A son of a master jeweler and Zarzuela artist, the young Castrillo inherited his parents' artistic flair. However, it took him several years to discover his talent for the arts. Upon his mother's premature death, he was left with his father and stepmother. He did not have a merry childhood; he was neglected. While kids his age go out to play, he is confined to a small space, watching life outside through tiny cracks in the walls. This experience brought trauma and a deep scar to the young Ed, which carried on until he grew older. He was only able to go out and explore the world after he began school at seven. The only positive outcome of his depressing childhood was that it taught him to dream, to conceptualize, and to be creative. Using whatever material was available, he would build something and make stories out of it. This creativity was further developed when his father, already given up on him being stubborn and 'insufferable' during his teenage years, enrolled him at Don Bosco. Here, Ed discovered himself, his–and his father's–epiphany. He found that he liked making things with his hands; he finally found something to channel his repressed energy. Since then, Castrillo has diligently studied various forms and techniques of art-making. Throughout his career, he has demonstrated his versatility by working in a wide variety of mediums: bronze, brass, stainless steel, chrome, plexiglass, glass, and scrap metal. He also used hammerouts, reliefs, assemblages, and bronze casting to create his dignified abstract masterworks, showcasing his ability to adapt and innovate. His sublime and monumental sculptures and brass reliefs are a sight to behold, decorating the Philippine soil with his top-notch artistry and precision. Perhaps Castrillo found solace in sculpture making. The expansive space he used for his sculpture work was an ode to the restrictions and limitations assigned to him as a child. From being an isolated child in a constricted space, his gigantic sculptures are now seen almost everywhere. They have become an integral part of the urban landscape, adorning parks, museums, office buildings, hotel premises, and school compounds. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jun. 13, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱120,000 - ₱156,000

    Sprout I signed and dated 2006 brass H: 15" (38 cm) L: 11" (28 cm) W: 23 1/4" (59 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot PROVENANCE Private collection, Manila Eduardo Castrillo's career gained momentum after his first solo show at the Northern Motors Showroom in 1966, marking a milestone event that opened many opportunities. This exhibition helped him gain recognition and establish his name in the local and international art scenes. Over the years, he continued to develop his skills, producing a body of work that decorated the Philippine art scene with his top-notch artistry. Despite working with different materials and techniques, brass sculpting remains Castrillo's favorite. His exquisite brassworks, big and small, are a sight to behold, serving as landmarks and spectacles for several parks and historical sites across the country. Notably, Sprout 1, crafted in 2006, exemplifies Castrillo's unyielding talent and precision, four decades after his rise to prominence. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Apr. 18, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱300,000 - ₱390,000

    Abundant Growth signed and dated 1977 brass H: 50 1/4” (128 cm) L: 28 1/2” (72 cm) W: 29 1/2” (75 cm) Accompanied by a certificate signed by the heirs of the artist confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Apr. 18, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱300,000 - ₱390,000

    Tower signed and dated 2009 brass H: 48” (122 cm) L: 30” (76 cm) W: 11 1/2” (29 cm) Accompanied by a certificate signed by the heirs of the artist confirming the authenticity of this lot Eduardo Castrillo’s career took a significant turn with his first solo exhibition at the Northern Motors Showroom in 1966. This milestone event opened several opportunities for Ed, gaining substantial recognition and firmly establishing his name in the local and international art scene. Throughout his career, he has demonstrated his versatility by working in a wide variety of mediums: bronze, brass, stainless steel, chrome, plexiglass, glass, and scrap metal. He also used hammerouts, reliefs, assemblages, and bronze casting to create his dignified abstract masterworks, showcasing his ability to adapt and innovate. Despite working with different materials, brass remains Castrillo’s preferred medium, with most of his sculptures, both small and large, crafted from it. Alfredo Roces once described Castrillo’s brassworks as “big and brassy,” emphasizing their bold presence. Notable works such as the ‘People Power Monument’ and the ‘Bonifacio Monument’ exemplify his mastery and serve as landmarks across Metro Manila, becoming integral parts of the urban landscape. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Feb. 14, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱500,000 - ₱650,000

    PROPERTY FROM THE PH LIPPINE PLAZA HOLDINGS INC Strike signed and dated 2007 brass without base: H: 82 1/2" (210 cm) L: 14" (36 cm) W: 19 1/2" (50 cm) with base: H: 104" (264 cm) L: 23 1/2" (60 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist  

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Feb. 14, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱500,000 - ₱650,000

    PROPERTY FROM THE PH LIPPINE PLAZA HOLDINGS INC Fortitude signed and dated 2007 brass without base: H: 82 1/4" (209 cm) L: 13 3/4" (35 cm) W: 12 1/4" (31 cm) with base: H: 106 1/2" (271 cm) L: 23 1/2" (60 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist  

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Feb. 14, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PH LIPPINE PLAZA HOLDINGS INC Axial Vertebral signed and dated 2011 brass without base: H: 55 3/4" (142 cm) L: 11" (28 cm) W: 11 1/2" (29 cm) with base: H: 90 1/2" (230 cm) L: 15 3/4" (40 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist  

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Feb. 14, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PH LIPPINE PLAZA HOLDINGS INC The Bolt signed and dated 2011 brass without base: H: 55 1/2" (141 cm) L: 10" (25 cm) W: 13" (33 cm) with base: H: 90 1/2" (230 cm) L: 15 3/4" (40 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist A son of a master jeweler and a Zarzuela artist, Eduardo Castrillo inherited his parents' artistic flair. Throughout his career, he has demonstrated his versatility by working in a wide variety of mediums: bronze, brass, stainless steel, chrome, plexiglass, glass, and scrap metal. He also used hammerouts, reliefs, assemblages, and bronze casting to create his dignified abstract masterworks, showcasing his ability to adapt and innovate in his art. Big and Brassy. That is how Alfredo Roces described Eduardo Castrillo's sculptures. Although he worked with different materials, brass remained his preferred medium. His sculptures, almost everywhere in Metro Manila, have become an integral part of the urban landscape, adorning parks, museums, office buildings, hotel premises, and school compounds. While enduring the painstakingly long traffic in EDSA, look outside and you might see one of Castrillo's colossal works of art, too. Ed Castrillo's brassworks boast immaculate craftsmanship. In comparison to other metals, brass is considerably more challenging to wield due to the zinc it contains. While it is softer than bronze, excessive heat can cause the zinc to fume out, and too much force can cause it to crack. Nevertheless, these succeeding lots: The Bolt (2011), Axial Vertebral (2011), Fortitude (2007), and Strike (2007), showcase Castrillo's unbending skills and authority in the field of brass sculpting, being able to create gigantic pieces in the most intricate designs and patterns. Certainly, Castrillo's sublime and monumental sculptures and brass reliefs are a sight to behold, decorating the Philippine soil with his top-notch artistry and precision. He created several monuments in honor of our valiant heroes, historical events, and notable Filipino figures whose contributions and significance are immeasurable. Thus, many of his works served as landmarks for several historical sites across the country. The year 1971 marked a significant milestone in Eduardo Castrillo's career. At 29, he received the Republic Cultural Heritage Award, which was the nation's top art honor at the time. That same year, he was also a recipient of the Araw ng Maynila Centennial Award, the Jaycees' Ten Outstanding Young Men Award, and the Outstanding Makati Resident Award. And most importantly, it was also in 1971 that he represented the Philippines in the Paris Biennial, the first of many international stages he would step into. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jan. 31, 2026

    Eduardo Castrillo (1942 - 2016)

    Est: ₱10,000 - ₱13,000

    PROPERTY FROM THE LORNA REVILLA MONTILLA COLLECTION Untitled signed aluminum H: 2 3/4” (7 cm) L: 10” (25 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Dec. 06, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱500,000 - ₱650,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC. Harmonious Growth signed and dated 2012 brass without base: H: 58" (147 cm) L: 19" (48 cm) W: 22" (56 cm) with base: H: 93 1/2" (237 cm) L: 27 1/2" (70 cm) W: 27 1/2" (70 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Dec. 06, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱500,000 - ₱650,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC. Melodic Growth signed and dated 2012 brass without base: H: 58" (147 cm) L: 15 1/2" (39 cm) W: 12" (30 cm) with base: H: 93 1/2" (237 cm) L: 27 1/2" (70 cm) W: 27 1/2" (70 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Dec. 06, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱500,000 - ₱650,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC. High Note signed and dated 2007 brass without base: H: 80 1/2" (204 cm) L: 11" (28 cm) W: 16" (41 cm) with base: H: 104" (264 cm) L: 23 1/2" (60 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Dec. 06, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱500,000 - ₱650,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC. Resilient Bamboo signed and dated 2007 brass without base: H: 79 1/2" (202 cm) L: 19" (48 cm) W: 12" (30 cm) with base: H: 103" (262 cm) L: 23 1/2" (60 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Dec. 06, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC. The Pile signed and dated 2011 brass without base: H: 55 1/2" (141 cm) L: 11" (28 cm) W: 13" (33 cm) with base: H: 91" (231 cm) L: 15 1/2" (39 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist   Certainly, Castrillo's sublime and monumental sculptures and brass reliefs are a sight to behold, decorating the Philippine soil with his top-notch artistry and precision. He created several monuments in honor of our valiant heroes, historical events, and notable Filipino figures whose contributions and significance are immeasurable. Thus, many of his works served as landmarks for several historical sites across the country. The year 1971 marked a significant milestone in Eduardo Castrillo's career. At 29, he received the Republic Cultural Heritage Award, which was the nation's top art honor at the time. That same year, he was also a recipient of the Araw ng Maynila Centennial Award, the Jaycees' Ten Outstanding Young Men Award, and the Outstanding Makati Resident Award. And most importantly, it was also in 1971 that he represented the Philippines in the Paris Biennial, the first of many international stages he would step into. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Dec. 06, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC. Whirlwind signed and dated 2011 brass without base: H: 55 1/2" (141 cm) L: 10" (25 cm) W: 13" (33 cm) with base: H: 91" (231 cm) L: 15 1/2" (39 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist   A son of a master jeweler and a Zarzuela artist, Eduardo Castrillo inherited his parents' artistic flair. Throughout his career, he has demonstrated his versatility by working in a wide variety of mediums: bronze, brass, stainless steel, chrome, plexiglass, glass, and scrap metal. He also used hammerouts, reliefs, assemblages, and bronze casting to create his dignified abstract masterworks, showcasing his ability to adapt and innovate in his art. Big and Brassy. That is how Alfredo Roces described Eduardo Castrillo's sculptures. Although he worked with different materials, brass remained his preferred medium. His sculptures, almost everywhere in Metro Manila, have become an integral part of the urban landscape, adorning parks, museums, office buildings, hotel premises, and school compounds. While enduring the painstakingly long traffic in EDSA, look outside and you might see one of Castrillo's colossal works of art, too. Ed Castrillo's brassworks boast immaculate craftsmanship. In comparison to other metals, brass is considerably more challenging to wield due to the zinc it contains. While it is softer than bronze, excessive heat can cause the zinc to fume out, and too much force can cause it to crack. Nevertheless, these succeeding lots: Whirlwind (2011), The Pile (2011), Resilient Bamboo (2007), High Note (2007), Melodic Growth (2012), and Harmonious Growth (2012) showcase Castrillo's unbending skills and authority in the field of brass sculpting, being able to create gigantic pieces in the most intricate designs and patterns.

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 25, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱50,000 - ₱65,000

    Untitled signed and dated 9-27-2002 brass without stand H:12” (30 cm) L: 8 3/4” (22 cm) W: 4 1/2 (11 cm) with stand H:18” (46 cm) L: 10” (25 cm) W: 6” (15 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Sep. 13, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC Imperial IV signed and dated 2011 brass without base: H: 56" (142 cm) L: 12" (30 cm) W: 12" (30 cm) with base: H: 92" (234 cm) L: 15 3/4" (40 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Sep. 13, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC Imperial III signed and dated 2011 brass without base: H: 55" (140 cm) L: 11" (28 cm) W: 11" (28 cm) with base: H: 91" (231 cm) L: 15 3/4" (40 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Sep. 13, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC Imperial II signed and dated 2011 brass without base: H: 56" (142 cm) L: 10" (25 cm) W: 11" (28 cm) with base: H: 92" (234 cm) L: 15 3/4" (40 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Sep. 13, 2025

    Eduardo Castrillo (1942 - 2016)

    Est: ₱400,000 - ₱520,000

    PROPERTY FROM THE PHILIPPINE PLAZA HOLDINGS INC Imperial I signed and dated 2011 brass without base: H: 55" (140cm) L: 17" (43 cm) W: 12" (30 cm) with base: H: 91" (231 cm) L: 15 3/4" (40 cm) W: 23 1/2" (60 cm) PROVENANCE Acquired directly from the artist A son of a master jeweler and a Zarzuela artist, Eduardo Castrillo inherited his parents' artistic flair. Throughout his career, he has demonstrated his versatility by working in a wide variety of mediums: bronze, brass, stainless steel, chrome, plexiglass, glass, and scrap metal. He also used hammerouts, reliefs, assemblages, and bronze casting to create his dignified abstract masterworks, showcasing his ability to adapt and innovate in his art. Big and Brassy. That is how Alfredo Roces described Eduardo Castrillo's sculptures. Although he worked with different materials, brass remained his preferred medium. His sculptures, almost everywhere in Metro Manila, have become an integral part of the urban landscape, adorning parks, museums, office buildings, hotel premises, and school entrances, such as the one in the Polytechnic University of the Philippines' Mabini Campus in Sta. Mesa. While enduring the painstakingly long traffic in EDSA, look outside and you might see one of Castrillo's colossal works of art, too. Certainly, Castrillo's sublime and monumental sculptures and brass reliefs are a sight to behold, decorating the Philippine soil with his top-notch artistry and precision. He created several monuments in honor of our valiant heroes, historical events, and notable Filipino figures whose contributions and significance are immeasurable. Thus, many of his works served as landmarks for several historical sites across the country. The year 1971 marked a significant milestone in Eduardo Castrillo's career. At 29, he received the Republic Cultural Heritage Award, which was the nation's top art honor then. That same year, he was also a recipient of the Araw ng Maynila Centennial Award, the Jaycees' Ten Outstanding Young Men Award, and the Outstanding Makati Resident Award. And most and foremost, it was also in 1971 when he represented the Philippines in the Paris Biennial, the first of the many international stages he stepped into. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Untitled
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) - Untitled

    Est: ₱140,000 - ₱182,000

    Untitled signed and dated 2008 brass H: 27 1/4” (69 cm) L: 4” (10 cm) W: 13 1/2” (34 cm)   Provenance Acquired directly from the artist   Modernism has crept its way into the Philippine art scene in the form of paintings and architecture but it had taken a while for it to reach sculpture. Its spread into the medium can partly be attributed to Eduardo Castrillo. This innovativeness is evident in this piece — as Castrillo combines flat planes and thick curves, he continues to push sculpture to its limits and more, creating an oeuvre that is as varied as it is uniquely his. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Untitled
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) - Untitled

    Est: ₱40,000 - ₱52,000

    Untitled brass H: 4” (10 cm) L: 4 1/2” (11 cm) W: 5” (13 cm)   Provenance Acquired directly from the artist As much as his monuments tower in several places in Manila, Eduardo Castrillo’s miniature sculptures more than aptly portray his modernist leanings. The heir to Guillermo Tolentino and Napoleon Abueva did not abide by the conventional form of sculpture — indeed, as this piece suggests, Castrillo ushed modernism into the field of sculpture through his unconventional sculptures, both big and small. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Untitled
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) - Untitled

    Est: ₱80,000 - ₱104,000

    Untitled signed and dated 1973 brass H: 6” (15 cm) L: 3 1/2” (9 cm) W: 5 1/2” (14 cm)   Provenance Acquired directly from the artist With Eduardo Castrillo comes the spread of modernism in Philippine sculpture. The natural heir to the greatness of Guillermo Tolentino and Napoleon Abueva, Castrillo steered clear from his mentor’s classical leanings and instead veered towards modernism, a movement that was already thriving in several other visual art mediums but not in sculpture. In this 1973 sculpture, Castrillo eschews depicting a figure rooted in reality; instead, this particular sculpture plays around with edges and corners. This sculpture echoes Castrillo’s shocking oeuvre, one that reverberated through the then-slumbering sculpting genre and breathed new life into it. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Untitled
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) - Untitled

    Est: ₱80,000 - ₱104,000

    Untitled signed (bottom) brass 12 1/2” x 15” (32 cm x 38 cm) A son of a master jeweler and a Zarzuela artist, Eduardo ‘Ed’ Castrillo inherited his parents’ artistic flair. Throughout his career, he has demonstrated his versatility by working in a wide variety of mediums: bronze, brass, stainless steel, chrome, plexiglass, glass, and scrap metal. He also used hammerouts, reliefs, assemblages, and bronze casting to create his dignified abstract masterworks, showcasing his ability to adapt and innovate in his art. Castrillo’s works not only dominated the Philippines but also made a mark on the international stage. His venerable sculptures and monuments adorn various public parks and spaces in the Philippines. He participated in several solo and group exhibitions, both locally and internationally, and proudly represented the Philippines at the prestigious Paris and Venice Biennials. In these regards, he was credited as one of the personalities who significantly contributed to the revitalization of sculpting in the Philippines. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) a.) Untitled b.) Untitled
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) a.) Untitled b.) Untitled

    Est: ₱60,000 - ₱78,000

    a.) Untitled brass H: 11” (28 cm) L: 2 1/2” (6 cm) W: 10 1/4” (26 cm) b.) Untitled brass H: 10 1/2” (27 cm) L: 4” (10 cm) W: 10 1/4” (26 cm) This pair of brass sculptures boasts immaculate craftsmanship. In comparison to other metals, brass is considerably more challenging to wield due to the zinc it contains. As such, these works containing several levels of depth despite general size speak of their artist’s talent, especially through such difficult metal. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) a.) Untitled & b.) Untitled
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) a.) Untitled & b.) Untitled

    Est: ₱80,000 - ₱104,000

    a.) Untitled brass repousse 9” x 24” (24 cm x 61 cm) b.) Untitled brass repousse 9 1/2” x 20 1/2” (24 cm x 52 cm) Ed Castrillo’s prolific artistry, born from his incessant practice and experimentation with different techniques and materials in his sculpture-making, created numerous masterworks in various forms and sizes. Repoussé is one of these methodologies. This metalworking technique creates three-dimensional reliefs in metal sheets, producing imagery that usually features culture and tradition. The process involves hammering the metal sheet from the back to lift the image from the sheet surface and then engraving the front side to add intricate details and definition. Although overlooked by many artists today, repoussé was an ancient art form and cultural phenomenon that gained immense popularity in the 17th and 18th centuries. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Ratio
    Mar. 15, 2025

    Eduardo Castrillo (1942 - 2016) - Ratio

    Est: ₱60,000 - ₱78,000

    Ratio chromeplated steel 6 3/4” x 9 1/2” x 2 1/2” (17 cm x 24 cm x 6 cm) Ed Castrillo’s career took a significant turn with his first solo exhibition at the Northern Motors Showroom in 1966. This milestone event opened several opportunities for Ed, gaining substantial recognition and firmly establishing his name in the local and international art scene. Among the materials he experimented with, steel is one of the common and ideal choices for sculpting owing to its malleability and durability. However, Castrillo’s steel works undergo an additional process to maintain and preserve their quality. This process is known as chrome plating, wherein the steel is coated with a thin layer of chromium, which acts as a protective barrier that shields the base material from corrosion and enhances the longevity and durability of his works. (Jessica Magno)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Sabong Trophy
    Feb. 22, 2025

    Eduardo Castrillo (1942 - 2016) - Sabong Trophy

    Est: ₱300,000 - ₱390,000

    Eduardo Castrillo (1942 - 2016) Sabong Trophy signed and dated 2001 brass Height: 28" (71 cm) Length: 24" (61 cm) Width: 15" (38 cm)   Accompanied by a certificate issued by the heirs of the artist confirming the authenticity of this lot   The sport of cockfighting had been a central tenet of Filipino culture. They are major social functions in the barrios of the Philippines, going far back to the pre-colonial Philippines when Antonio Pigafetta recorded it during Magellan’s expedition in 1521. The first wave of migration of Filipinos to Hawai’i brought that sport into American lands, so beloved was the sport that they brought it with them.   Nowadays, the appeal of sabong is still highly evident. The Philippines had controlled spaces from the violent cockfights – whether it be the covered court of a faraway barrio or a televised fight done inside an arena, cockfights are a bona vide Filipino tradition, passed down from father to son in a long line of familial lineage.   Eduardo Castrillo’s Sabong Trophy is the artist’s response to this deep-rooted tradition. The natural heir of National Artists Guillermo Tolentino and Napoleon Abueva, Castrillo breathed life into the violent and fast-paced hobby as he created a flurry of movement as these fighting roosters rushed into each other. Wings are flapped and necks are raised in defense as these animals battle it out and Castrillo manages to manipulate brass enough to create an illusion of movement.   Sculpture as a medium embodies a specific sense of physicality that others may not require – the metal needs to be manipulated, the clay shaped to the desired perfection. Castrillo’s years in his craft are evident when one observes his elegant yet powerful forms, a veritable proof of his ability to transform a medium as tough as brass into a refined sculpture.   Sabong Trophy is among the long list of sculptures Castrillo has created. Among his enviable list of works are the monuments of Bonifacio at Ermita, the Katipunan Revolution near the Manila Hall, and the Pieta at the Loyola Memorial Park. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 26, 2024

    Eduardo Castrillo (1942 - 2016)

    Est: ₱60,000 - ₱78,000

    Miss World Trophy signed brass artwork: 21 1/4" x 4 1/2" x 5" (54 cm x 11 cm x 12 cm) with base: 23 1/4" x 8 1/4" x 8 1/4" (59 cm x 21 cm x 21 cm) Accompanied by a certificate issued by Mr. Nixxio L. Castrillo confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 26, 2024

    Eduardo Castrillo (1942 - 2016)

    Est: ₱80,000 - ₱104,000

    Ying and Yang signed and dated 2004 handcrafted sculpture on natural brass finish 8” x 21” x 19” (20 cm x 53 cm x 48 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Untitled
    Sep. 14, 2024

    Eduardo Castrillo (1942 - 2016) - Untitled

    Est: ₱160,000 - ₱208,000

    Untitled signed and dated 1979 brass H: 21 1/2” (55 cm) L: 14” (36 cm) W: 22 1/2” (57 cm) Accompanied by a certificate issued by the heirs of the artist confirming the authenticity of this lot WRITE UP The majestic monuments of Eduardo Castrillo narrate the history of Metro Manila and beyond. The People Power Monument along EDSA, the Bonifacio Shrine at Ermita, and the Pieta at the Loyola Memorial Park all tell a story that took root in the Philippine soil and is brought to life through Castrillo’s masterful hands. However, his small-scale works evoke the same sense of awe as his towering sculptures. Sculpture as a medium was largely untouched by the burgeoning modernist movement and it was Castrillo who breathed into the practice. This 1979 brass work, crafted with the same sense of meticulousness and care that befits a bigger sculpture, showed Castrillo’s technical and creative process as he tamed the solid medium in a simple yet elegant piece. The natural heir of National Artists Guillermo Tolentino and Napoleon Abueva, Castrillo paved the way for the revival of sculpture in the Modernist era. He forged his own path, carving through the conventional as diligently as he carved through his mediums. This laborious process paid off – from monumental statues to miniature sculptures, Castrillo’s prodigious legacy on the state of Philippine sculpture cannot be understated. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Enduring Beauty
    Mar. 09, 2024

    Eduardo Castrillo (1942 - 2016) - Enduring Beauty

    Est: ₱260,000 - ₱338,000

    Enduring Beauty signed and dated 2008 brass H: 12 1/2" (32 cm), L: 31 1/2" (80 cm), W: 18 1/2" (47 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot WRITE UP: Whether it be a life-size statue or an abstract sculpture, public monuments are so intertwined with their environment that one cannot be imagined without the other. Ermita is inconceivable without the grand monument of Bonifacio and the Katipunan Revolution near the Manila Hall; Loyola Memorial Park without Pieta feels hollowed out. These works have one thing in common: both were created by the prolific sculptor Eduardo Castrillo. The natural heir of National Artists Guillermo Tolentino and Napoleon Abueva, Castrillo forged his own path, paying no heed to what was conventional at the time. Sculpture as a medium remained largely untouched by the modernist movement and it was through Castrillo’s innovation that energized the lagging practice. His artistic journey may have been a long one – it took Castrillo a series of unrelated jobs before he fully committed to his craft – but the end result is a satisfying one with an oeuvre that spans from monumental statues to miniature sculptures. The lot at hand, created in 2008, was crafted during the latter part of Castrillo’s career and it shows Castrillo at his maturity. A sculpture on the smaller side (at least in comparison to his colossal public monuments), this work has a brass finish and is masterfully sculpted with sweeping edges. Years of experience bleed into this piece – there is a physicality to sculpture, a hands-on method that requires its sculptor to craft and sweat for the challenge of taming the solid medium used. Castrillo’s years in his craft are evident when one observes his carefully simplified forms and his elegant yet powerful forms, a veritable proof of his ability to transform a medium as tough as brass into a refined sculpture. (Hannah Valiente)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Crucifix
    Mar. 09, 2024

    Eduardo Castrillo (1942 - 2016) - Crucifix

    Est: ₱120,000 - ₱156,000

    Crucifix signed and dated 2002 (bottom) handcrafted sculpture in natural brass finish H: 36" (91 cm) L: 3 1/4" (8 cm) W: 19" (48 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot. WRITE UP: One is hard-pressed to travel within Metro Manila and not encounter a work of Eduardo Castrillo. With monuments like the People Power Monument along EDSA and the Bonifacio Shrine in Ermita on his impressive resume, his monumental impact on Philippine sculpture cannot be understated. However, despite the towering sculpture he is known for, Castrillo’s small-scale works evoke a similar sense of awe. A recurring theme in his formidable oeuvre is the multiple depictions of Chris on the cross. Writer and artist Alfredo Roces writes that while Castrillo is no religious devotee, several of his works, including the lot at hand entitled Crucifix, show his understanding of the spiritual and his inclinations towards religious themes. A handcrafted sculpture with a brass finish, Castrillo fashions Christ’s impossibly small frame up on the cross. His body is incredibly famished with His ribs on full display and His head bowed in surrender. With his depiction of Christ’s anguish and capitulation, there is no question of Castrillo’s technical and creative prowess. (Hannah Valiente).

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jan. 21, 2024

    Eduardo Castrillo (1942 - 2016)

    Est: ₱50,000 - ₱65,000

    Untitled signed and dated 2019 a limited edition individually hand crafted movable brass abstract sculpture mounted on a painted wooden base. 6 1/2" x 6" x 10" (17 cm x 16 cm x 26 cm) Accompanied by a certificate signed by Nixxio L. Castrillo confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016) - Triumvirate
    Dec. 02, 2023

    Eduardo Castrillo (1942 - 2016) - Triumvirate

    Est: ₱500,000 - ₱650,000

    Triumvirate signed and dated 1971 (bottom) brass 37” (94 cm) 46 3/4” (119 cm) 29 3/4” (69 cm) Accompanied by a certificate issued by Nixxio L. Castrillo confirming the authenticity of this lot WRITE UPIn the early 1970s, Eduardo Castrillo had already placed himself at the forefront of Philippine sculpture, thanks to the veritable strength of his string of success at the turn of the decade. Before this, Castrillo had already received acclaim from the leading artists and critics of his time. In his debut exhibition in 1966 held at the Northern Motors Showroom in Makati, Napoleon Abueva put his trust in Castrillo, writing in the show’s brochure, “he has a manner of expressing himself in tri-dimensional forms.” He adds that he is “confident the element of time and hard works will favor him with a great future.” The critic Alfredo Roces writes in the November 26, 1969 issue of Light and Shadow that “metal sculpture has come into its own in this country with the rise of Eduardo Castrillo from comic book illustrator and jeweler, to fullpledged sculptor whose works now grace the Manila Hilton and other buildings…While other artists have worked with metal, such as…Manansala who favors brass and young sculptor Lamberto Hechanova who works with aluminum sheets, Castrillo is the only one so far who has mastered diverse metal working techniques…[from] hammeredout copper work…welded metal…and experimental work employing brass wires, cut metal, chrome-plate finish or synthetic glass coating…and freestanding forms.” In 1970, Castrillo was awarded the inaugural Thirteen Artists Award from the Cultural Center of the Philippines. The following year would even signal a brighter era for Castrillo; he would add to his merit list four prestigious awards and recognitions: The Republic Cultural Heritage Award (precursor to the National Artist Award), the Araw ng Maynila Centennial Award, the Outstanding Makati Resident Award, and the Ten Outstanding Young Men Award. 1971 also marked Castrillo’s unveiling and installation of several of his now-iconic monuments: Pieta at the Loyola Memorial Park and the Statue of Mayor Arsenio Lacson at Plaza Lacson in Santa Cruz, Manila. ABOVE: 1977 Pillar of Growth, Metrobank Plaza Building, Makati Also, in 1971, Castrillo became the Philippine representative in Sculpture at the Paris Biennial. Writing in his monograph Breaking Out: An Eduardo Castrillo Sculptural Tour, Roces notes that at the Paris Biennial, Castrillo became convinced that “some of his techniques are not being used in Europe, particularly embossed copper, and constructed and welded brass.” 1971 was indeed Castrillo’s year. The work at hand, aptly titled Triumvirate, encapsulates that triumphant year in Castrillo’s prospering career. In history, the word “triumvirate” evokes power. (Think of Ancient Rome’s “First Triumvirate,” consisting of Julius Caesar, Pompey the Great, and Marcus Licinius Crassus.) In numerology, the number three is highly symbolic of perfectness, as in the concepts of birth, life, and death; past, present, and future; mind, body, and soul; harmony, wisdom, and understanding. The number also holds distinction in perfect timing (consider the phrase, “On the count of three…”). In mathematics, the number three is the only number equal to the sum of all figures below it. There are also equally popular phrases, beliefs, and concepts: “Third time’s a charm,” “Three wishes,” the “Holy Trinity,” the triangle as the most stable physical shape, three primary colors and three secondary colors, the three main island groups of the Philippines (Luzon, Visayas, and Mindanao) and the list goes on. Taking all of these into consideration, Castrillo’s Triumvirate represents his “coming of age,” heralding that he has indeed arrived—a serious artist to be reckoned with. He held in his hands the future of Philippine sculpture. Six years later (a number divisible by three), Castrillo would reprise the subject of the work at hand through his monumental masterpiece, Pillar of Growth, installed at the promenade of the Metrobank Plaza in Makati. (Adrian Maranan

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 21, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱150,000 - ₱195,000

    Untitled signed and dated 1976 (upper left) brass with frame: 27 1/2” x 43” (70 cm x 109 cm) without frame: 18” x 23” (46 cm x 58 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 21, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱90,000 - ₱117,000

    Untitled signed and dated 1978 brass 18/200 4 1/2” x 8 1/2” x 6 1/4” (11 cm x 21 cm x 16 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 21, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱150,000 - ₱195,000

    Eduardo Castrillo (1942 - 2016) Untitled signed and dated 2005 brass 14” x 30” x 14 1/2” (36 cm x 76 cm x 37 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Oct. 21, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱50,000 - ₱65,000

    Untitled signed and dated C.L.A.S.I 2019 - 045 brass 10” x 6” x 6 1/2” (26 cm x 16 cm x 17 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016
    Oct. 21, 2023

    Eduardo Castrillo (1942 - 2016

    Est: ₱5,000 - ₱6,500

    Study for Last Supper handsigned and dated 1971 (lower left) watercolor, pen and ink on paper 14” x 20” (36 cm x 51 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jul. 29, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱150,000 - ₱195,000

    Untitled signed and dated 2005 brass 14” x 30” x 14 1/2” (36 cm x 76 cm x 37 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jul. 29, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱80,000 - ₱104,000

    Progress in Edges signed and dated 2010 brass 11” x 17” x 13” (28 cm x 43 cm x 33 cm) Accompanied by a certificate issued by Nixxio Castrillo confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jul. 29, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱150,000 - ₱195,000

    Resplendent Growth signed movable brass 30” x 14 1/2” x 12” (76 cm x 37 cm x 30 cm) Accompanied by a certificate issued by Nixxio Castrillo confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jul. 29, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱120,000 - ₱156,000

    Crucifix signed and dated 2004 brass 30 1/4” x 18 3/4” x 4 3/4” (77 cm x 48 cm x 12 cm) Accompanied by a certificate issued by Nixxio Castrillo confirming the authenticity of this lot

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jul. 29, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱22,000 - ₱28,600

    Untitled signed and dated 10/2001 brass and wood 16 5/8” x 11 1/4” x 6 3/4” (42 cm x 29 cm x 17 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jul. 29, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱150,000 - ₱195,000

    Untitled signed and dated 1976 (upper left) brass with frame: 27 1/2” x 43” (70 cm x 109 cm) without frame: 18” x 23” (46 cm x 58 cm)

    Leon Gallery
  • Eduardo Castrillo (1942 - 2016)
    Jun. 17, 2023

    Eduardo Castrillo (1942 - 2016)

    Est: ₱1,600,000 - ₱2,080,000

    The Race to Progress signed and dated 11-79 (right) bas-relief sculpture in antique and sanded finish 30" x 86" (76 cm x 218 cm) Accompanied by a certificate issued by Nixxio L. Castrillo confirming the authenticity of this lot The 1970s marked Eduardo Castrillo's artistic coming of age. During that decade, Castrillo was at the forefront of Philippine sculpture. In 1970, he became one of the first recipients of the inaugural CCP Thirteen Artists Awards. In 1971, Castrillo received a string of prestigious awards: the Republic Cultural Heritage Award, the Araw ng Maynila Centennial Award, the Outstanding Makati Resident Award, and the Ten Outstanding Young Men Award. It was also in 1971 when Castrillo became the Philippine representative in Sculpture at the Paris Biennial. There, he became convinced that "some of his techniques are not being used in Europe, particularly embossed copper, and constructed and welded brass," as Alfredo Roces writes in his book Breaking Out: An Eduardo Castrillo Sculptural Tour. He also visited Germany in 1974 as a cultural visitor and guest lecturer upon the invitation of the Federal Republic of Germany, becoming the first Filipino sculptor to do so. Castrillo also created many of his most iconic works during this decade: La Pieta (1971); The Redemption (1974); The Spirit of Pinaglabanan (1974); Rajah Sulayman (1976); Pillar of Growth (1977); and The Organized Quest for Health (unveiled at the World Health Organization Center, Geneva, Switzerland, 1979). Maturing in the '70s, Castrillo integrated his art within the larger context of societal struggle against the dictatorship of Marcos, Sr. Castrillo found empathy with the toiling masses, drawing from his distressed and deprived younger years. From his first major public sculpture, 1966's Youth's Cry of Defiance, installed at Fort Santiago, which encapsulates the revolutionary rage of the youth during Marcos Sr.'s first term (characterized by indiscriminate borrowing of funds for his edifice complex and granting behest loans to his cronies), Castrillo's social conscience and the social imperative of art that is in line with the masses' interests and ideals are evident. Even Castrillo's entries to the Paris Biennial, Clash and Oppressed, deal with the struggle against injustice in Philippine society. In 1968, Castrillo became involved in the protests against the brewing dictatorship. For his association with the opposition, he would be incarcerated in 1976, receiving death threats, and his Makati studio mysteriously burned down. From 1973 to 1980, Castrillo worked on his Catharsis series to vent out his rage against the social cancer and his burning desires for radical societal development. Roces notes that "on the strength of his Catharsis series alone, Castrillo has hammered out a secure niche in Philippine art." Castrillo created the work at hand concurrently with the Catharsis series. It depicts a congregation of people gathering in solidarity, with their fists raised and their physiques as sturdy as their aspirations for the motherland. They concertedly bolt toward that elusive yet realizable vision of genuine progress, proving that they are the makers of history and the potent force in achieving a progressive society. Castrillo created the piece in 1979, the height of Martial Law and a time of economic fragility due to the ills of a neoliberal economic trajectory—the liberalization of the economy to foreign monopoly capital, inducing a foreigninvestment-driven and export-oriented industrialization, killing our industries, hampering national development, and further worsening the inequality gap between the rich and the poor. The jagged planes powerfully evoke an agitating feeling. The horizontal lines and orientation convey a sense of moving forward and Castrillo's amplification of the peoples' eagerness to liberate themselves from darkness. The Race to Progress not only encapsulates Castrillo at the peak of his creative prowess but, moreover, his unswerving commitment to make art that echoes the people’s desire for liberty from socioeconomic distress and inequality, repression, and fascism. The work can also be seen as a precursor piece that would culminate in Castrillo's Inang Bayan (Bantayog ng mga Bayani, 1992) and People Power Monument (EDSA, 1993), monuments that embody the nation's struggle towards democracy. Castrillo once said in a 1974 interview with the Associated Press: "Whenever I am doing a big commission, or big artwork, particularly in the Philippines, I put myself, I put my artistry aside, and I deal more, and I feel more as a social being. A social being that has a responsibility of educating or orienting the great number of people…." Indeed, no one should be left in the race to progress—that painstaking yet rewarding path to emancipation. (A.M.)

    Leon Gallery
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