Jeremias Elizalde Navarro Paintings & Artwork for Sale | Jeremias Elizalde Navarro Art Value Price Guide

Jul. 25, 2026
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱45,000 - ₱58,500
A Bird in Hand is Worth two in the Bush signed and dated 1975 (upper right) watercolor on paper 12” x 14 1/4” (30 cm x 36 cm) A founding member of the Philippine Art Gallery, Jerry Elizalde Navarro is known for blending figurative imagery with abstraction in his art. His constant exploration of themes about human psychology, memory, dreams, and symbolism made him one of the pioneers of Philippine modern art. His featured masterpiece, A Bird in Hand is Worth Two in the Bush, presents an enigmatic arrangement of fragmented human figures—each depicting different parts of the nude female body — as the figure of a pregnant woman takes center stage. The juxtaposition of pregnancy with the isolated body parts oscillates one’s attention between the sensuality to themes of creation, reproduction and vulnerability with the physical realities of womanhood, establishing the female body as a symbolic vessel of life and identity. (Mark John Castañeda)
Leon Gallery
Feb. 14, 2026
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,600,000 - ₱2,080,000
The Seasons Four Year of Cory '86 signed and dated 1986 (left) acrylic on canvas 35" x 46" (89.9 cm x 116.84 cm) Accompanied by a certificate issued by Pearl Ty Navarro signed by the artist confirming the authenticity of this lot 1986 was a momentous year for the Philippines. Following a tumultuous election period, Cory Aquino emerged not just as the country’s first female president but also as Asia’s. A new era shines on the Philippines, and as an artist fascinated with the passing of the season, Jerry Elizalde Navarro immortalized this event in his distinct style. The Seasons Four Year of Cory '86 contains in one canvas the signature explosion of colors that comes with his ‘Four Seasons’ series. Red, yellow, white, and blue dots cover the canvas, reminiscent of the Philippine flag, with a smattering of greens in different shades. Navarro’s captivation with this topic is well-documented. As Cid Reyes wrote in his monograph J. Elizalde Navarro: “One theme or pictorial motif that Navarro constantly held on to was that of the 'Four Seasons'. This subject matter worked for the artist on several levels. First is the literal symbolism of the idea […] Inherent, too, is the allegory of the life of Man: from childhood and adolescence to maturity and old age.” (Hannah Valiente)
Leon Gallery
Feb. 14, 2026
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱700,000 - ₱910,000
The Seasons Four Year of Cory '88 signed, titled and dated 1988 (lower left) oil on canvas 32 1/4" x 31 1/2" (82 cm x 80 cm) PROVENANCE Private collection, Manila A gift from the artist to the family of F. Sionil Jose Creating an outstanding work of art that reflects not only the beauty of nature through visual language but also its allegorical representation of the cycle of life, Jerry Elizalde Navarro creates a masterpiece that transforms the natural cycle of life into a meditation on time, memory, and the human condition. Colorful, cyclical, and contemplative, this abstract piece embodies Navarro's favourite subject matter as seen in his later four-panel majestic piece, The Four Seasons (1992)—all contained in a single canvas. The explosion of colors blends with warm red, orange, and yellows (which symbolize the summer heat as well as autumnal decay), as well as cool greens and blues (reminiscent of the growth of spring and winter coolness), all intermixed, highlighting how natural seasons usually overlap rather than exist in rigid strict divisions—showing nature as a fluid continuous cycle rather than a fixed orderly system. Navarro uses the seasons to internalize their nature rather than interpret them as external phenomena. Rather than focusing on how the seasons shape the world in every cycle, the artists used the seasons as internal representations of emotional and psychological states that mold human existence and experiences as they unfold. (Mark John Castañeda)
Leon Gallery
Dec. 06, 2025
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,200,000 - ₱1,560,000
The "Mother Temple" of Besakih signed and dated 1999 (left) oil on canvas 40" x 30" (102 cm x 76 cm) Accompanied by a certificate issued by National Museum of the Philippines confirming the authenticity of this lot PROVENANCE Private collection, Manila “Colors—the way colors are used, is eye-boggling. I am used to seeing colors in a well-ordered way. In Bali, color attains order in a disordered way; as if thrown haphazardly but with order when seen from a distance—mysterious—a predominance of primary colors, mixtures. This throws out all the color laws from art schools.” —JE R RY E L I Z A L D E N AVA R RO F ROM T H E B O O K J . E L I Z A L D E N AVA R RO B Y C I D R E Y E S , 2008. Presenting his dynamic abstract representation of Bali's most sacred temple, Jerry Elizalde Navarro's Mother Temple of Besakih perfectly captures the spiritual energy and the environmental majesty of the site through his explosive mastery of color and texture. Blending abstraction and cultural symbolism that transform a simple landscape into a vibrant, emotional experience. Made in 1999, this abstracted landscape of Pura Besakih presents what is intended to be a distant view of a temple, with the eyes leading to the shadowed silhouette of the temple (Meru Pagodas), elevated in the distance to suggest ascension and reverence for the spiritual site. The bundle of pink and white forms rises and blooms smoothly, like a bouquet of flowers, possibly hinting at the abstracted figure as an offering. Providing the masterpiece with an atmosphere of ritual and celebration, which suits the subject matter, as the temple often serves as the venue for festivals and worship related to Balinese Hinduism. At the bottom left of the canvas, the phrase "This 'Mother Temple' of Besakih on the slopes of Mount Agung is a center of worship for all Balinese" further cements what the piece represents. Navarro's abstraction emphasizes spiritual transcendence and the unity of nature, humanity, and divinity—all core ideas important to Hinduism. This makes his own masterpiece, not just a representation of a place, but an emotional landscape of faith and unity. Further celebrating the shared spiritual heritage of the Balinese. It shapes the Besakih temple into a living symbol of interconnectedness where human devotion, natural beauty, and divine presence culminate through the artist's explosive visual language—transcending visual boundaries into a contemplative and spiritual experience. (Mark John Castañeda)
Leon Gallery
Oct. 25, 2025
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱30,000 - ₱39,000
Untitled signed and dated 1998 (upper right) charcoal on paper 30” x 22” (76 cm x 56 cm) Accompanied by a certificate signed by the heir of the artist confirming the authenticity of this lot
Leon Gallery
Sep. 13, 2025
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,400,000 - ₱1,820,000
Awesomely Beautiful signed and dated 7.11.96 (lower left) oil on canvas 53 1/4" x 45" (135 cm x 114 cm) PROVENANCE Private collection, Manila LITERATURE Reyes, Cid. J. Elizalde Navarro. Manila: The National Museum of the Philippines, 2008. Photograph of the artist with the artwork reproduced in full-color on page 263. Related to a few of his favorite themes, such as the "four seasons", the landscapes of Bali, the issue of ecology, the wonders of Nature, and man's depredation of his environment, Jerry Elizalde Navarro's featured piece, entitled Awesomely Beautiful, demonstrates his free-spirited approach in art and his tribute of appreciation for Nature—a sort of "love letter" for Mother Earth, characterized by bold colors, intricate patterns, and a strong sense of movement. Painted in 1986, the artwork features an abstract illustration of movement, akin to a burst of vibrant colors spreading across the black-painted canvas. The words "Awesomely beautiful Mother Earth. Even when she weaves and sighs, the man shudders at the sight of swaying trees and gaping holes in the ground…" are illustrated at the top left corner of the painting, solidifying Navarro's poetical homage to the subject matter and showcasing Mother Nature's majestic presence: its beauty, the terrifying power she carries, and humanity's fragility when placed in front of her natural power, eternally forged in explosive brushstrokes and words. Navarro uses vibrant and colorful strokes to reflect his fascination with the natural world. Essentially, Navarro's Mother Nature works are based on the authority of landscapes as pictorial invention and impression, with both prose and brushstrokes giving emotional, mental, and visual experience, all giving reverence to Nature's beauty and power, forever intertwined. (Mark John Castañeda)
Leon Gallery
May. 03, 2025
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱180,000 - ₱234,000
Untitled signed (lower left) mixed media on canvas 20" x 24" (51 cm x 61 cm)
Leon Gallery
Feb. 22, 2025
Jerry Elizalde Navarro (1924 - 1999) - All Systems Go!
Est: ₱400,000 - ₱520,000
Jerry Elizalde Navarro (1924 - 1999) All Systems Go! signed and dated 1970 (left and verso) mixed media 27 1/2" x 23" (70 cm x 58 cm) León Gallery wishes to thank the family of the artist for confirming the authenticity of this lot Provenance: Metropolitan Museum of Manila. Literature: Reyes, Cid. J. Elizalde Navarro. Manila: The National Museum of the Philippines, 2008. Full color illustration and painting description on page 122. Listed on page 270 as “All Systems Go!” in the artist’s “List of Artworks” (Appendix). Exhibited: The Metropolitan Museum of Manila, J. Elizalde Navarro: 45 Years of the Artist's Works (Retrospective Exhibition), Manila, November 1995 Hardware Meets Soft Culture Jerry Navarro's 3D Imaginings by Hannah Valiente Even amongst the idealist crowd of modernist artists, Jerry Elizalde Navarro stands out due to his uncompromising stance. Unlike some artists, Navarro eschews the idea of sticking to one painting style, consistently changing styles from minimalism to figuration and then abstraction and everything in between. “Somebody went inside the Met Museum during my 1996 retrospective, and he said ‘Gee, I thought there were twelve artists who did the whole thing,’” he told Reuben Cañete as he wrote in his 2020 BluPrint article. “To me, a real artist shoots in so many directions, and he shouldn’t give a hoot about what people will say. I don’t believe in style. To me, it’s a point of submission.” As such, it is not a shock to see Navarro delve into mixed-media art. A prolific artist, Navarro’s mixed media pieces encompass the multiplicity of his art, as evidenced by this 1970 All Systems Go! His use of pointillistic elements is noticeable as he used several dots to portray the naked torso of a woman and even had these dots going outside the painting’s border. The painting itself is done on the back part of a metal piece as various wires cross from one machinery-like installation to another. All Systems Go! emphasizes one of Navarro’s strengths: his nude portraiture. “Without question, where Navarro contributed greatest to Philippine modern art is in the genre of nude painting,” Cid Reyes once said in his book J. Elizalde Navarro. “It was Navarro who introduced a differentiating element absent in the works of others: a fresh and outright eroticism.” Indeed, even through the visual barrier of pointillism, this piece manages to bring across a fresh sense of eroticism usually only seen in realistic portraits. When taken into the larger context, the nude itself only occupies a small part of the piece but it brings life to the otherwise monochromatic piece. All Systems Go! is a dynamic configuration of Navarro’s artistic sensibilities. This work highlights his affinity for the three-dimensional as he adds depth and intensity to make this more interesting, creating a work that embodies his free-spiritedness, both as an artist and in his personal life.
Leon Gallery
Sep. 14, 2024
Jerry Elizalde Navarro (1924 - 1999) - The Earth Goddess
Est: ₱500,000 - ₱650,000
The Earth Goddess signed and dated 11.12.96 (right) oil on canvas 30" x 40" (76 cm x 102 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot WRITE UP Jerry Elizalde Navarro’s sojourn to Bali, Indonesia in the late 1980s injected colors into his life, both creatively and physically. Already at the age of sixty-five, Navarro had resigned himself to a life of obscurity, his works languishing unsold in his studio. However, one fateful encounter with Cornelius Choy kickstarted, once again, his artistic career. His 1996 The Earth Goddess bears the beauty of Bali he encountered almost a decade later. The vibrancy of colors he used captivated his audiences, just like they did Navarro when he first stepped on the island. Navarro had found himself captivated by the movement of the exotic dances he watched and that bled into The Earth Goddess. Sweeping strokes of vibrant yellows and fiery reds and deep green mimic the flash of movements too quick for a camera to capture, its fleetingness emphatically illustrated through gestural strokes. “In my sketches, no attempt at detailing has been done except to capture the layering of tantalizing movements, nervous and sinuous at the same time,” Navarro writes in his October 15, 1989 Philippine Daily Inquirer Bali On My Mind. In the same vein as this statement, The Earth Goddess manages to capture the vibrant movements of the dance, its intense colors an echo of the feverish frenzy of creation he embarked on upon facing the captivating culture of Bali, Indonesia. (Hannah Valiente)
Leon Gallery
Apr. 20, 2024
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
The Full Moon signed and dated 1993 (lower right) oil on canvas 24” x 18” (61 cm x 46 cm) Accompanied by a certificate signed by Emma Navarro wife of the artist confirming the authenticity of this lot
Leon Gallery
Apr. 20, 2024
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
War Chariot signed (lower right) oil collage 17 1/2" x 15" (44 cm x 38 cm) PROVENANCE The Luz Gallery
Leon Gallery
Dec. 02, 2023
Jerry Elizalde Navarro (1924 - 1999) - Unto Us the Lesser of These
Est: ₱500,000 - ₱650,000
Unto Us the Lesser of These signed and dated 1975 (lower right) mixed media 40” x 28” (102 cm x 71 cm) PROVENANCE Private collection, Manila WRITE UPIt is futile to categorize Jerry Elizalde Navarro into one artistic movement. Although he started as a postwar modernist painter, Navarro pursued tireless growth and dipped his toes in other mediums. His 40 years in the visual arts saw him dabble in painting, graphic designing, printmaking, drawing, and sculpting. The artist, trained at the University of Santo Tomas, started his career on the cusp of Neorealism’s rise in the 1950s. The end of the Second World War had the new generation of artists itching to portray the post-war situation. They wanted to break away from the genteel imagery espoused by the pre-war Philippine art. Among these artists is Jerry Elizalde Navarro. By the late 1950s, Navarro’s art would take on another inspiration in the form of a Japan trip sponsored by the Japanese Chapter of the Youth Association of Asia. This trip, including later visits to Bali, Indonesia, inspired Navarro greatly and traces of Japanese and Balinese inspiration are notable in his works. At the turn of the 1960s, Navarro continued to make his name in the field of visual arts, with this decade seeing him as a leading figure in sculpture, particularly in mixed media and assemblage. His piece Homage to Dodgie Laurel makes impressive use of woods, rods, and pipes with levers and sprints added to suggest the possibility of movement. It was with these accolades in mind, both in painting and sculpture, that became the foundation of the lot in hand. In this 1975 work entitled Unto Us the Lesser of These, Navarro worked with mixed media, combining the multiple mediums he has worked with. The left side of the piece uses overlapping layers of paint reminiscent of pointillism to create an image of a torso and a face. The right side of the canvas utilizes Navarro’s skill in sculpture with the topmost featuring a person’s backside and the bottom showing a baby curled in an enclosement. Ever the relentless artist, Unto Us the Lesser of These showcases Navarro’s mastery of multiple mediums. His use of different art forms, his innovation, and his constant experimentation shows he is not afraid of finding the limit of visual art and pushing past it. (Hannah Valiente)
Leon Gallery
Sep. 09, 2023
Jerry Elizalde Navarro (1924 - 1999) - Tis the Season of Political Copulation
Est: ₱2,000,000 - ₱2,600,000
Jerry Elizalde Navarro (1924 - 1999) Tis the Season of Political Copulation signed, titled, and dated 8.5.97 (lower right and verso) oil on canvas 54" x 45 1/2" (137 cm x 116 cm) "THE LOPEZ LEGACY COLLECTION : A MICROCOSM OF GREAT PHILIPPINE ART Politically Charged Painting by Navarro An Important Touchstone to 1997 Political Crossroads by LISA GUERRERO NAKPIL I In this rare work with a political theme, J. Elizalde Navarro must have found the prospect of ‘Charter Change’ — which the Filipino’s acerbic wit would dub ‘the Cha-Cha’ — irresistible to depict. (It is also easy to imagine how equally irresistible it was to Don Geny Lopez, a seasoned power-player in all its fronts.) It was 1997 and the Philippines was at another crossroads. On the one hand was the highly effective successor to President Corazon Aquino, Gen. Fidel V. Ramos; on the other, was movie star Joseph “Erap” Ejercito Estrada. It was a year buffeted by the Asian Financial Crisis but that paled in comparison to the prospect of the impending 1998 Presidential elections. The solution, purportedly crafted by Ramos’ all-powerful security adviser Jose Almonte, was a change to the constitutional provision limiting the presidential term to just six years. In the mix was the People’s Initiative for Reform, Modernization and Action (PIRMA), which sought a parliamentary system of government and the amendment of the 1987 Constitution. Cardinal Jaime Sin threw his influence behind the signature campaign which was eventually rebuffed by the Philippine Supreme Court. Navarro’s inimitable style — an overwhelmingly bright palette, his dynamic flourishes and unmistakable energy — is particularly suited to the temper and the temperature of this diatribe. Six faces covered in masks as elaborate as his Balinese dancers, flail about in a mob of legs, arms, even high-heeled shoes. There is a sense of confusion, elation, as well as mad passion and it is plain that it is not love but power that is the measure of the lusty emotion. As a young man and a graduate of the University of Sto. Tomas’ College of Fine Arts, he would begin his career in the Philippine Art Gallery, mentored by its many greats among the Neo-Realists. He would be named National Artist for the Visual Arts in 1999, reflecting several decades of a wide and rich artistic practice in painting and sculpture. "
Leon Gallery
Sep. 09, 2023
Jerry Elizalde Navarro (1924 - 1999) - The Other Side of Bali
Est: ₱1,000,000 - ₱1,300,000
Jerry Elizalde Navarro (1924 - 1999) The Other Side of Bali signed and dated 1995 (lower right) oil on canvas 24" x 48" (61 cm x 122 cm) Jerry Elizalde Navarro shared that it was in Indonesia, on the vibrant island of Bali, where he imbibed the most inspiration for his works. He perceived how the artists of Bali utilized the playful colors of the tropics and the idyllic communal life of an island. Aside from portraying dancers, rituals, and landscapes, Navarro was also stimulated to paint abstract works exploding with naturally occurring colors is essential in Balinese culture. One of the distinct and powerful characteristics of Navarro’s paintings is the use of bright, dynamic hues. When Navarro first laid eyes on Bali, he described the way the colors boggled his eyes, “I am used to seeing colors in a well-ordered way. In Bali, color attains order in a disordered way; as if thrown haphazardly but with order when seen from a distance — mysterious-a predominance of primary colors, no mixtures…" His statement from Cid Reyes’s book on Navarro is reminiscent of his painting The Other Side of Bali, filled with bright tints of blues, red, and yellows. (Raphaela Cordero)
Leon Gallery
Jun. 17, 2023
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,600,000 - ₱2,080,000
The Other Landscape signed and dated 1981 (lower left and verso) oil and acrylic on canvas 32 3/4" x 48" (83 cm x 122 cm) PROPERTY FROM THE ZITA FELICIANO COLLECTION EXHIBITED Museum of Philippine Art (MOPA), Museum Artists 1981, Manila, August 1981 Navarro’s dynamic work captures the mystique of abstract illusionism. Jerry Elizalde Navarro has made a substantial reputation as an artist whose singular oeuvre is one of the most complex by anyone of his generation. Navarro creates vivid mash ups of color and gestural strokes. Navarro’s art contains elements of Japanese, Balinese and Western painting traditions that merge to make singularly intimate works. Gestural painting draws its sources not only from surrealism but from Asian aesthetics as well, which places a premium on spontaneity and quick insight. Gesture is very important in this kind of painting. In contrast to this impersonality akin to automatism, Navarro’s art derives from subjective forces. In this piece bold brushstrokes traverse the canvas with a haphazard orientation. The traces of the paint loaded brush are highly visible, overlapping, and forming thick ridges, pools of pigment, and streaks and splatters of impasto. There are some areas of defined color shapes to stabilize and give weight to the composition. At the core of his art are modernism’s freedom and a freshness of spirit that immediately draws one into his vision of the world. (J.D.)
Leon Gallery
Apr. 22, 2023
Jerry Elizalde Navarro (1924 - 1999) Emma
Est: ₱30,000 - ₱39,000
Jerry Elizalde Navarro (1924 - 1999) Emma signed and dated 1980 (lower right) ink and watercolor on paper 21 1/2” x 13” (54 cm x 33 cm)
Leon Gallery
Jan. 21, 2023
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱50,000 - ₱65,000
Jerry Elizalde Navarro (1924 - 1999) Chinese Garden for Charito and Dess signed (lower right) dated 1/86 (lower left) watercolor on paper 12” x 8” (30 cm x 23 cm)
Leon Gallery
Oct. 22, 2022
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱800,000 - ₱1,040,000
Jerry Elizalde Navarro (1924 - 1999) The Face of the Awakening God signed and dated 1993 (lower right) oil on canvas 45” x 54” (114 cm x 137 cm)Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot
Leon Gallery
Jul. 30, 2022
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱400,000 - ₱520,000
Jerry Elizalde Navarro (1924 - 1999) The Bali Fantasy signed and dated 1.6.94 (left) acrylic on canvas 20” x 42” (51 cm x 107 cm)
Leon Gallery
Jun. 11, 2022
Jeremias "Jerry" Elizalde Navarro (1924 - 1999)
Est: ₱600,000 - ₱780,000
Jeremias "Jerry" Elizalde Navarro (1924 - 1999) The Silver Golden Machine signed and dated 1957 (lower left and verso) shaped norwegian pine 38" x 48" x 3" (97 cm x 122 cm x 8 cm) Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot LITERATURE: Reyes, Cid. J. Elizalde Navarro. National Museum of the Philippines. Manila. 2008. Page 104 with a full-color illustration on page 105. In 1957, then-33-year-old Jerry Elizalde Navarro was invited by the Japanese chapter of the Youth Association of Asia to visit the 'Land of the Rising Sun.' Fascinated with the country's culture, Navarro began to assimilate Japanese aesthetics into his art. In the succeeding year, Navarro held a one-man exhibition of his paintings at the Mitsukoshi Art Gallery in Tokyo. The Youth Association of Asia sponsored the show. In the midst of the pervading influence Japanese aesthetics had brought upon Navarro's creative intelligence, he would start exploring the machine and related imagery. In 1957, he produced The Silver Golden Machine, which Cid Reyes described as a "relief using shaped Norwegian pine." The work at hand depicts a fully functioning machine's rough yet dynamic structure and movement. Here, Navarro presents the well-calculated elegance of the mechanical apparatus. During this period, when Navarro dabbled between two distinctive art forms, the circle remained a recurring figure. Reyes writes in J. Elizalde Navarro: "The significance of the circle in Navarro is of paramount importance, its meaning possibly dredged from the artist's unconscious. By his own admission, the circle was, from the start, some sort of a fetish. "I am crazy about the circle," he has always said. The circle, after all, is the perfect shape, a line that has journeyed in a trajectory and has arrived at a point where it started, thus evoking a sense of completeness, as in the phrase "coming full circle." Eventually, Navarro would experience a full circle artistic journey. He would ultimately go back to abstraction, albeit in a more exuberant and dynamic form, during the twilight of his artistic career and the last years of his earthly life. As Rod. Paras-Perez had written, abstraction would become Navarro's "motif and content-bearer." (A.M.)
Leon Gallery
Apr. 23, 2022
Jerry Elizalde Navarro (1924 - 1999) - Cristy Daydreaming
Est: ₱200,000 - ₱260,000
Jerry Elizalde Navarro (1924 - 1999) Cristy Daydreaming signed and dated 1995 (lower left and verso) oil on canvas 21” x 33” (53 cm x 84 cm)
Leon Gallery
Apr. 23, 2022
Jerry Elizalde Navarro (1924 - 1999) - Untitled
Est: ₱20,000 - ₱26,000
Jerry Elizalde Navarro (1924 - 1999) Untitled signed and dated 1968 (upper right) pen and ink on paper 13 1/2” x 11 3/4” (34 cm x 29 cm)
Leon Gallery
Oct. 16, 2021
Jerry Elizalde Navarro (1924 - 1999) The Gold of Their Bodies
Est: ₱1,200,000 - ₱1,560,000
Jerry Elizalde Navarro (1924 - 1999) The Gold of Their Bodies signed and dated 1989 (lower left) oil on canvas 35” x 38 1/2” (89 cm x 98 cm)
Leon Gallery
Sep. 11, 2021
Jerry Elizalde Navarro (1924 - 1999) Barbarella and Her Things Doing
Est: ₱200,000 - ₱260,000
Jerry Elizalde Navarro (1924 - 1999) Barbarella and Her Things Doing signed and dated 1969 (upper right) collage 15" x 20" (38 cm x 51 cm) P 200,000 Accompanied by a certificate signed by the artist confirming the authenticity of this lot PROVENANCE Private Collection, Manila LITERATURE Reyes, Cid. J. Elizalde Navarro. National Museum of the Philippines. Manila. 2008. p. 118 Pop Art found one of its prime movers in the Philippines in the artistic identity of Jerry Elizalde Navarro. The popular culture of his time was influenced by the Sexual Revolution in the United States, spreading to developing countries, such as the Philippines, where Western culture has been ingrained in the local psyche. Barbarella and Her Things Doing is inspired by the film Barbarella, a 1968 science fiction film produced by Paramount Pictures. Based on Jean-Claude Forest’s comic series of the same name, the film stars Jane Fonda as Barbarella, a space traveler and a representative of the United Earth government sent to find scientist Durand Durand who created a bioweapon that could wipe out humanity. The film depicts scenes of nudity and sadism. Lisa Eisner of The New York Times deemed Barbarella as “the most iconic sex goddess of the ‘60s,” while the Los Angeles Times wrote that its “imagery has echoed for years in pop culture.” Retrospectively, Barbarella has widely been considered a cult classic. In the September 22, 1973 issue of The Asia Magazine, Peggy Printz described Navarro’s pop art as having colors that “pulsate with the brilliance of the tropics.” Still, his subjects and themes are sophisticated, and “the favorite victim is the commercialism that gave Pop Art its original inspiration.”
Leon Gallery
Jul. 16, 2021
Jerry Elizalde Navarro (1924 - 1999) - Nude
Est: ₱10,000 - ₱13,000
Jerry Elizalde Navarro(1924 - 1999) Nude signed and dated 1950 (right) charcoal on paper 14” x 17” (36 cm x 43 cm)
Leon Gallery
Jun. 05, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,200,000 - ₱1,560,000
Jerry Elizalde Navarro (1924 - 1999) Yellow Nude signed (lower right) oil on canvas 38” x 38” (97 cm x 97 cm) Provenance: Private collection, USA National Artist Jerry Elizalde Navarro had an unyielding propensity to Modernism, transforming and evolving his style incessantly. In the words of art critic and professor Reuben Ramas Cañete, “Jerry Navarro’s Modernist transformations can be likened to a Buddhist avatar undergoing constant reincarnation.” He traversed through the avenues of minimalism to abstract expressionism, cubism, pointillism, assemblage, and a melodic figurative style that gave prominence to the female figure and the Oriental heritage that he became accustomed to since the 1980s. The nude genre was where Navarro contributed the greatest to Philippine modern art. He introduced an unprecedented element that could not be found in the works of his peers - an unconventional and unequivocal eroticism. In this particular piece, his trademark of incorporating multicolored dots into his nude paintings can be discerned as a highlight. This work coalesces human perception and the use of Ben-Day dots, creating a pointillist masterpiece that captures the obscurity of the human figure.
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,400,000 - ₱1,820,000
Jerry Elizalde Navarro (1924 - 1999) Homage to Carlos V. Francisco signed and dated 1992 (lower right) oil on canvas 52 1/2” x 35 1/2” (133 cm x 90 cm)
Leon Gallery
Nov. 28, 2020
Jerry Elizalde Navarro (1924 - 1999) - Sun’s Presence
Est: ₱1,800,000 - ₱2,340,000
Jerry Elizalde Navarro (1924 - 1999) - Sun’s Presence signed and dated 1974 (right) acrylic on canvas Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot Estimate USD : $36000-$46800 Estimate Euros : €30000-€39000
Leon Gallery
Nov. 28, 2020
Jerry Elizalde Navarro (1924 - 1999) - The Music Makers
Est: ₱2,400,000 - ₱3,120,000
Jerry Elizalde Navarro (1924 - 1999) The Music Makers signed (left) ca. 1950 oil on canvas Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot Estimate USD : $48000-$62400 Estimate Euros : €40000-€52000
Leon Gallery
Mar. 14, 2020
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱4,000 - ₱6,000
Untitled
Salcedo Auctions
Nov. 30, 2019
Mt. Bator, on the Road to Kintamani, Bali
Est: ₱700,000 - ₱910,000
A contemporary of Ang Kiukok, Jose Joya, and Vicente Manansala, Jerry Elizalde Navarro occupies a mythic yet quieter place due to his prodigious outputs that are well placed in private collections and museums. Navarro, in his lifetime, explored and excelled in various art fields. An elegant writer and poet, sculptor, graphic designer, and advertising maverick, he represented the Philippines in many international biennales for sculpture and graphic design and participated in designing the Philippine pavilions in various world fairs and expos. His interdisciplinary practice—together with his wanderlust which landed him various grants, teaching positions, and exhibitions in Australia, the United States, Japan, and Indonesia—have made his works among the most elegant, cosmopolitan, and sophisticated among the Philippine artists of his time, vaulting his reputation as an artist, and garnering him the National Artist Award in 1999. In 1989, Navarro, fortunately, became the very first Filipino artist to be represented at the Yayasan Dharma Seni Neka Museum, Bali, Indonesia. A true citizen of the world, Navarro’s Mt. Bator, On the Road to Kintamani, Bali was inspired by his peaceful sojourn to the Kintamani, Bali, to witness the beauty of the stunning Mount Bator that rises prominently above a vivid landscape of greenery. It is notable that the crystalline Lake Bator rests inside the active caldera, and interesting villages and a temple clings to the rim of the active volcano.
Leon Gallery
Sep. 14, 2019
Jerry Elizalde Navarro - (1924-1999) - Obon Dancer at Rest
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924-1999) Obon Dancer at Rest signed and dated 1958 (left) tempera Jerry Elizalde Navarro’s fondness of painting dancers as his subject is again showcased in this work of art.
Leon Gallery
Jun. 22, 2019
Jerry Elizalde Navarro, (1924 - 1999) , The Victim
Est: ₱300,000 - ₱390,000
Jerry Elizalde Navarro, (1924 - 1999) , The Victim, signed and dated 1992 (lower left) , oil on paper , 21 1/2”x 15 1/2” (55 cm x 39 cm),
Leon Gallery
Feb. 23, 2019
Jerry Elizalde Navarro (1924–1999) The Machines Take Over
Est: ₱300,000 - ₱390,000
Jerry Elizalde Navarro (1924–1999) The Machines Take Over signed and dated 1984 (lower left) mixed media 20” x 20” (51 cm x 51 cm)
Leon Gallery
Dec. 11, 2018
Jerry Elizalde Navarro (FILIPINO, 1924–1999) Torso, oil on wood, painting size 32 x 23 inches, overall size 32 x 30-1/2inches
Est: $8,000 - $12,000
Jerry Elizalde Navarro (FILIPINO, 1924–1999) Torso, oil on wood, painting size 32 x 23 inches, overall size 32 x 30-1/2inches
Bill Hood & Sons Arts & Antiques Auctions
Sep. 08, 2018
Jerry Elizalde Navarro (1924-1999)
Est: ₱1,800,000 - ₱2,340,000
Jerry Elizalde Navarro (1924-1999) Various Voices, Various Rooms Somewhere in his career, Jerry Elizalde Navarro absorbed Japanese aesthetic so completely that they became incorporated into his personal style, as can be seen in the forms, which stand out against their backgrounds in clear linear delineations, offset by broad, flat patterns. Painters such as Jerry Elizalde Navarro believe that there is such a fundamental contradiction between painting abstractly from real objects (no matter how abstracted) that if a painting is going to be abstract at all it should be totally so, with no connection whatsoever with the world of visible reality. Navarro expresses concern with flattening the picture space to focus on the formal elements of color and shape. The viewer more fully enjoys pure form, pure color and pure arrangement because we are less diverted by incidental interests. With the tangibility of Navarro’s forms, and the logic of their relation to one another, his abstraction is otherworldly signed (left) ca.1955 mixed media 60” x 48” (152 cm x 122 cm) Property from the Patrick Reyno Collection
Leon Gallery
Sep. 08, 2018
Jerry Elizalde Navarro (1924-1999)
Est: ₱1,400,000 - ₱1,820,000
Jerry Elizalde Navarro (1924-1999) The Rush of Birdsong Breaking the Bali Dawn The Liberation of Color. Jerry Elizalde Navarro seems almost too affable for a guy whose soulful art has in its own way torn through the fabric of Filipino painting and even through the hard surface of sculpture. His canvases have managed to imprint their agitated force on the local art scene. Jerry Elizalde Navarro is the painter-poet, alluring, seasoned by the decadesm “unpindownable” for his love of life, witty down to his written verses. His art is as New York-ish as it is Asian. In 1964, he visited New York as a member of the design group of the Philippine delegation to the World’s Fair where he was commissioned to install a large iron mural). The Big Apple was also where he took his first stride towards his personal style with all that exposure to the works of the then internationally established painters and one painter in particular, Wassily Kandinsky. Known for exuding a certain explosive force in his art, Kandinsky prefigured the endless visual motions of abstraction. His works also bear footprints of Japanese sojourn he did, but in this work, this episode is not as discernible as his immersion in Bali. The Indonesian island of Bali has been both an artistic inspiration and a second home to innumerable painters, Asian and Western alike, for more than a century. The lure of the island no less powerful today as it was then. Jerry Elizalde Navarro’s visual vocabulary has acquired a new depth which has resulted in work that celebrates the free spirit of art and the joy of life. His Balinese sojourn started when he became the first Filipino artist at the Yayasan Dharma Seni Museum Neka, in Bali, Indonesia. Eventually Navarro was touched by the island’s Hindu based traditions and in the movements and form. An impact apparent enough for him to entitle one of his shows Bali in my Mind (1989). As well as the island’s effect on his use of color and his gestural cum calligraphic mark - marking, Navarro’s Bali sojourn has also sharpened up his drawing and reawakened and developed his figurative work. Navarro experienced in Bali seeing nature in terms of dynamic forces rather than as purely visual phenomena. With that Balinese spirit, Navarro brought to the oil medium a basically new style: painterly handling, full bodied color. signed and dated 1992 (left) oil on canvas 52 1/2” x 35” (133 cm x 89 cm)
Leon Gallery
Sep. 09, 2017
The Inscrutable East
Est: ₱400,000 - ₱520,000
Jerry Elizalde Navarro (1924-1999) Quantity: 1
Leon Gallery
Jul. 29, 2017
JERRY ELIZALDE NAVARRO (1924 - 1999) Musicians
Est: ₱7,000 - ₱9,100
JERRY ELIZALDE NAVARRO (1924 - 1999) Musicians signed (left) Print 7/188
Leon Gallery
Feb. 18, 2017
Jerry Elizalde Navarro (1924-1999) Untitled
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924-1999) Untitled signed (left) oil on wood 15” x 12” (38 cm x 30 cm)
Leon Gallery
Sep. 10, 2016
Jerry Elizalde Navarro (1924-1999)
Est: ₱300,000 - ₱390,000
Jerry Elizalde Navarro (1924-1999) Ratih’s Offering, Ubud Bali signed, titled and dated 1989 (left) acrylic on canvas 35" x 31" (89 cm x 80 cm)
Leon Gallery
Jul. 30, 2016
Jerry Elizalde Navarro (1924-1999)
Est: ₱70,000 - ₱91,000
Jerry Elizalde Navarro (1924-1999) Untitled signed (lower left) oil on wood 18” x 20” (46 cm x 51 cm) Salcedo Auctions
Leon Gallery
Sep. 12, 2015
Jerry Elizalde Navarro (1924-1999)
Est: ₱280,000 - ₱364,000
Jerry Elizalde Navarro (1924-1999) Baris Dancer signed and dated 1989 (right) oil on canvas 37” x 35” (94 cm x 89 cm)
Leon Gallery
Jun. 13, 2015
Jerry Elizalde Navarro (1924-1999)
Est: ₱140,000 - ₱182,000
Cubed Landscape
Leon Gallery
Jun. 13, 2015
Jerry Elizalde Navarro (1924-1999)
Est: ₱180,000 - ₱234,000
The Invasion of my City
Leon Gallery
Jun. 13, 2015
Jerry Elizalde Navarro (1924-1999)
Est: ₱60,000 - ₱78,000
Minotaur
Leon Gallery
Jun. 13, 2015
Jerry Elizalde Navarro (1924-1999)
Est: ₱120,000 - ₱156,000
The Third Eye Seeth
Leon Gallery
Jun. 13, 2015
Jerry Elizalde Navarro (1924-1999)
Est: ₱400,000 - ₱520,000
The Incoherencies of Language
Leon Gallery