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

Nov. 30, 2024
Jerry Elizalde Navarro (1924 - 1999) - Untitled (Bacchus)
Est: ₱2,200,000 - ₱2,860,000
Untitled (Bacchus) signed (verso) oil on canvas diameter: 120" (305 cm) Accompanied by a certificate issued by the family of the artist confirming the authenticity of this lot. Choosing a signature style for National Artist Jerry Elizalde Navarro is irrelevant. A prolific artist, he shifts painting styles as easily as a second skin, trying his hand at minimalism, abstraction, cubism, portraiture, assemblage, and pointillism, to name a few. He is an artist who marches to the beat of his own drum, marking him as a pioneer for the modernism movement in the Philippines. As such, this Bacchus piece is just another step in Navarro’s quest for experimentation. This massive circular assemblage piece was specially commissioned to be installed on the ceiling of a popular dining establishment. Navarro puts the image of Bacchus at the center with an eight-pointed star. Around him are several images of festivities, each table overflowing with the dramatics of different kinds of wine and fruits as befits the god of religious ecstasy and theater. The colors used pulsate with Navarro’s Bali-rich colors, an antithesis to Caravaggio’s more somber Bacchus piece. Navarro’s Balinese inspirations are also quite evident with the presence of Buddhist elements in this piece, creating a cross-religious image and setting the eclectic tone with which Navarro’s body of work is ultimately defined. (Hannah Valiente)
Leon Gallery
Nov. 30, 2024
Jerry Elizalde Navarro (1924 - 1999) - A Foul Wind on the 11th Day of February 1986 (The Murder of Evelio Javier
Est: ₱1,700,000 - ₱2,210,000
A Foul Wind on the 11th Day of February 1986 (The Murder of Evelio Javier signed, titled and dated 1991 (side and verso) collage, industrial paints, finishers 60” x 48” (152 cm x 122 cm) PROVENANCE: Metropolitan Museum of Manila EXHIBITED: The Metropolitan Museum of Manila, J. Elizalde Navarro: 45 Years of the Artist's Works (Retrospective Exhibition), Manila, November 1995 LITERATURE: Reyes, Cid. J. Elizalde Navarro. Manila: The National Museum of the Philippines, 2008. Full color illustration and painting description on page 246. Listed on page 272 as “A Foul Wind on the 11th Day of February ‘86” in the artist’s “List of Artworks” (Appendix). Antique’s “Ninoy Aquino” A few minutes past 10 AM on February 11, 1986, just outside the provincial capitol in San Jose de Buenavista, masked assassins working for Pacificador and riding a Nissan patrol jeep opened fire at Javier, who was resting on a lawn in the plaza just in front of the capitol building. He was taking a short break from safeguarding the ballots against theft and manipulation. Javier initially sustained gunshot wounds on his left shoulder and leg. Attempting to protect civilians, the bleeding Javier ran away from the capitol while the gunmen continued firing shots. Javier sought refuge inside a comfort room owned by Leon Pe but was found and cornered by his assassins. He was shot at point-blank range, his bloodied body lying on the cold floor. avier's body sustained 24 gunshot wounds. Unlike the ten Bornean datus, tyranny and death became inevitable for the outspoken critic. Javier's death struck the final blow to the dictatorship. His body was flown to Manila, where a burial procession was held. Javier's body was laid in state at the Ateneo, where more than 20,000 people resoundingly voiced out their battle cries of justice for Javier and for the thousands of Filipinos who were subjected to detainment, torture, enforced disappearance, and brutal death under the regime. When Javier's body was flown back to Antique, another funeral procession was held that ran the 160-kilometer length of Panay Island and was joined by thousands of Panayanons. On February 12, the Aquino campaign team released an interview with Javier that was filmed days before his death. Said the slain ex-governor, "Every time I move around Antique, I have to play cat and mouse with the goons of Pacificador. I have to be elusive." A 1990 article from the Los Angeles Times also tells of a ledger detailing that Pacificador was credited to have received one million pesos from the regime in exchange for killing Javier and ensuring the win of the dictator in the province. By the end of February, democracy would be restored in the Philippines, ending the two-decade conjugal dictatorship. Navarro's 1991 piece is actually his second work on the murder of Javier. The first one, bearing the exact same title as the work at hand, is a 1986 acrylic on board piece, in which Navarro paints a portrait of Javier in the center surrounded by armed figures, all in a Cubist style. In the 1991 work at hand, Navarro, ever the metamorphosing artist, yields to an abstraction reminiscent of a cubist collage style in a chilling reminder of Javier's death. Red paint reminiscent of blood can be seen in the center surrounded by a chaotic convergence of cut-out and pasted canvas, as if transporting one to the harrowing setting in which Javier was cold-bloodedly murdered. A small painted slab incised with "EVELIO" can be found in the upper center. Is it Javier's wounded head? Or is it Navarro reminding the viewer that our nation's foundation and the freedom and liberty we enjoy right now (however little or shallow they may be) and should be struggling to defend and cultivate towards humaneness are watered by the very blood of our heroes? A year after Navarro painted this work, Republic Act No. 7601, otherwise known as "An Act Declaring February 11 Of Each Year Governor Evelio B. Javier Day, A Special Non Working Public Holiday in the Provinces of Antique, Capiz, Aklan, and Iloilo," was passed on June 3, 1992. The plaza where Javier was killed is now known as the Evelio B. Javier Freedom Park.
Leon Gallery
Sep. 14, 2024
J. Elizalde Navarro (1924 - 1999) - Nude
Est: ₱150,000 - ₱180,000
J. Elizalde Navarro (1924 - 1999) Signed and dated 'ten 97' (1997, lower right) Pastel on felt paper 56 x 37 cm (22 x 14 1/2 in)
Salcedo Auctions
Sep. 14, 2024
J. Elizalde Navarro (1924 - 1999) - Untitled (Boots)
Est: ₱40,000 - ₱45,000
J. Elizalde Navarro (1924 - 1999) Signed and dated '72' (1972, upper right) Ink on paper 57 x 42 cm (22 1/4 x 16 1/2 in)
Salcedo Auctions
Sep. 14, 2024
J. Elizalde Navarro (1924 - 1999) - Untitled (Reclined Figure)
Est: ₱40,000 - ₱45,000
J. Elizalde Navarro (1924 - 1999) Signed and dated '72' (1972, upper middle left) Ink on paper 39 x 54 cm (15 1/4 x 21 1/4 in)
Salcedo Auctions
Sep. 14, 2024
J. Elizalde Navarro (1924 - 1999) - Sydney Woman
Est: ₱40,000 - ₱45,000
J. Elizalde Navarro (1924 - 1999) Signed and dated '69' (1969, middle left) Ink on paper 43 x 29 cm (17 x 11 1/2 in)
Salcedo Auctions
Sep. 14, 2024
J. Elizalde Navarro (1924 - 1999) - Ubud, My Bali
Est: ₱430,000 - ₱480,000
J. Elizalde Navarro (1924 - 1999) Signed and dated '4.2.95' (1995, lower right), with dedication (on verso) Acrylic on wood 33 x 43 cm (13 x 17 in) Accompanied by a Certificate of Authenticity signed by the artist
Salcedo Auctions
Sep. 14, 2024
Jerry Elizalde Navarro (1924 - 1999) - Dancing on the Waves
Est: ₱500,000 - ₱650,000
Dancing on the Waves signed and dated 5-23-1992 (lower right) oil on canvas 40" x 30" (102 cm x 76 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot WRITE UP In the late 1980s, Jerry Elizalde Navarro took a step forward that would take his artistic career to the next level. Already at the age of 65, Navarro, on the suggestion of his daughter Pearl, took up Cornelius Choy’s offer for a Resident Artist Program in Bali, Indonesia. “Bali just stuns you with colors,” he wrote in his 1989 Philippine Daily Article Bali on My Mind. “A very vigorous and free profusion of colors in the Bali palette plays a major role in the unfolding of the life there.” This renewed appreciation for colors is evident in his 1992 Dancing on the Waves. The island of Bali, surrounded by the seas on all sides, is adequately represented in the intensity of the colors and the curves of the lines in this piece. His abstractive interpretation of the place only elevated one’s interest in the hues – it echoes Elizalde’s praises of Bali as Cid Reyes documents in J. Elizalde Navarro: “I have not experienced a stimulation as vibrant and as scintillating [as my first seven days in Bali.]” Bali in his abstractions is exactly as he had experienced it – overwhelmingly beautiful and haunting in its vividness. (Hannah Valiente)
Leon Gallery
Mar. 23, 2024
Navarro, Jeremias Elizalde; On Wings of Birdsongs
Est: S$35,000 - S$45,000
Lot: 820, Navarro, Jeremias Elizalde (1924 - 1999, Filipino), On Wings of Birdsongs, painted in 1996, oil on canvas, 138 x 118 cm, inscribed, signed and dated on upper right; inscribed, signed and dated on the reverse,Pick up Point: Jakarta, Tags: Filipino, Philippines, modern, painting, abstract IMPORTANT INFO Bidders need to know We encourage all buyers to check for condition reports and or other photos before bidding. The absence of a condition report does not imply that the lot is free from damage and wear. Please go through photos for more details on conditions and age; color will be different depends on your screen. All the items are sold as is and all sales are final. We encourage all bidders to review our terms and conditions before bidding. Please contact us through email [email protected] if you need any further information.
Larasati Auctioneers
Dec. 02, 2023
Jerry Elizalde Navarro (1924 - 1999) - Paris, 2 Windows Across the Street
Est: ₱700,000 - ₱910,000
Paris, 2 Windows Across the Street signed and dated 1981 (upper left) acrylic on canvas 32” x 32” (81 cm x 81 cm) PROVENANCE Private collection, Singapore LITERATURE Reyes, Cid. J. Elizalde Navarro. Manila: National Museum of the Philippines, 2008. Full-color photograph and painting description on page xix. WRITE UPJ Elizalde Navarro’s artistic career can be categorized into three particular periods: the “Japanese period,” the “Australian interlude,” and the “Bali Renaissance.” Navarro does not confine himself in one artistic movement – constantly seeking out new inspirations, his repertoire offers a variety of styles and one could easily find a work that resonates with them. Amidst these changing art styles, one thing Navarro utilizes in his myriad of works is color. Art is a language meant to communicate, he says, and he associates colors with specific emotional charges. “I have experienced colors as some sort of phenomenon that stays in our psyche for a long time is not for always,” he said. In this lot in hand, a 1981 painting entitled Paris, 2 Windows Across the Street, Navarro’s penchant for abstract expressionism and his unique relationship with colors are shown. He used shades of bright yellow with specks of blue, green, and red in an abstraction of the Parisian streets. Navarro came into his artistic maturity in the same modernist circle of H.R. Ocampo and Vicente Manansala and took inspiration from his mentor Carlos “Botong” Francisco’s romance of form and colors. However, while he came in contact with these modernist artists, he paved his own path out of the academe and into abstraction and figuration. (Hannah Valiente)
Leon Gallery
Feb. 18, 2023
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱800,000 - ₱1,040,000
Jerry Elizalde Navarro (1924 - 1999) Totems of My Forefathers signed and dated 5/22/93 (upper right) oil on canvas 47 1/2" x 33" (121 cm x 84 cm) Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot PROVENANCE: Private Collection, Manila The profusion and explosion of colors in Jerry Elizalde Navarro's oeuvre can be partly traced to his Bali paintings. Navarro commenced the Bali paintings beginning in 1989 during his first visit to the island, to which he would return occasionally. "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," Navarro delightfully expressed in his conversations with Rod. Paras-Perez. Bali offered Navarro a sense of artistic reincarnation. Paras-Perez wrote: "After his encounter with Bali, the broad dashing calligraphic signature of his oeuvres attained a more vibrant, throbbing color pulse. Moreover, enough works remained within the traditional mode of structuring: a relational approach (to colors and brushwork) swirling around a central core or axis." During the latter part of his life, spanning the years 1993 to 1999, the spirit of abstraction found its way back to Navarro's canvas. From his Bali paintings, Navarro's style returned to abstract expressionism, which he previously explored starting in the 1950s. His art had finally come full circle. Perhaps the primary catalyst for this return was I Madé Sumadiyasa, a Balinese abstract expressionist artist born in 1971. Madé's works show the universal aspects of Balinese culture and philosophy. Cornelius Choy, the man who introduced the magnificence of Balinese arts and handicrafts to Navarro, recounted how the latter became convinced to return to abstraction. Choy shared: "Mr. Navarro always believed in that 'neatness.' But when he saw Madé's abstraction, something snapped. It was the bridge, perhaps, that he had been wanting to cross over for a long time. And when he had actually seen Madé's painting—that was the bridge. And he stepped over… and that's when these exuberant strokes started. Of course, he always had these strokes in his dancers. But he can paint dancers in one fashion, abstraction in another, and watercolor in another fashion. He was able to control that talent. But his abstractions—the last five years of his life—went into a different direction." Through a harmonious interplay of movement and colors, Navarro engendered an approach to abstract expressionism devoid of Western predominance, thus manifesting his Asian sensibility. With the dynamism of brushstrokes displayed by the slathering of paint, Navarro made evident the primary source of his abstraction: a fusion of underlying dynamic forces. Towards the end of his career, abstraction had become Navarro's "motif and content-bearer." (A.M.)
Leon Gallery
Oct. 22, 2022
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱40,000 - ₱52,000
Jerry Elizalde Navarro (1924 - 1999) Untitled signed and dated 4/7/98 (lower right) black pencil on paper 16 3/4” x 21 3/4” (42 cm x 56 cm) Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot
Leon Gallery
Oct. 22, 2022
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱80,000 - ₱104,000
Jerry Elizalde Navarro (1924 - 1999) Amor signed and dated 1998 (lower left) pastel on paper 22 1/4” x 17 1/4” (56 cm x 41 cm) Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot
Leon Gallery
Sep. 10, 2022
Jerry Elizalde Navarro (1924 - 1999) - Balinese Fantasy
Est: ₱240,000 - ₱312,000
Jerry Elizalde Navarro (1924 - 1999) Balinese Fantasy signed and dated 1995 (middle left) acrylic on canvas 16 1/2" x 26" (42 cm x 66 cm) Jerry Elizalde Navarro's conversations with Botong Francisco sparked his interest in the island of Bali. Botong wanted to see "The Last Paradise on Earth" but never made it. In an Inquirer article dated October 15, 1989, Navarro mentioned: "In Bali, I thought of my friend, the late Carlos V. Francisco, who might have given his right arm just to see Bali close, like from ringside." Sensational tourism reports about Bali only intensified Navarro's desire to encounter the island's sheer beauty. Hence, Navarro always thought of Bali as a worthwhile experience for every artist who seeks to broaden their visual vocabulary and acquire new creative depths. Navarro commenced the Bali paintings beginning in 1989 during his first visit to the island, to which he would return occasionally. In the same Inquirer article, he wrote: "Bali stuns you with colors. A very vigorous and free profusion of colors in the Bali palette plays a major role in the unfolding of life there." Bali offered Navarro a unique tropical palette inspired by its landscapes, biodiversity, and culture. Navarro proved his capacity in innovating his art to meet the coloristic demands of the Balinese by operating within the realms of his Asian sensibility. The use of naturally occurring colors is essential in Balinese culture. Navarro stressed this importance in his Bali paintings as an homage to the culture he had grown to love. This acknowledgment made Navarro witness Bali as a fusion of underlying dynamic forces resulting in an explosion of colors rather than a purely visual extravaganza. (A.M.)
Leon Gallery
Jul. 30, 2022
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱15,000 - ₱19,500
Jerry Elizalde Navarro (1924 - 1999) Hand embossed stamp ‘JEN’ (lower right) pen and ink on paper 9 1/4” x 11” (24 cm x 28 cm)
Leon Gallery
Jun. 11, 2022
Jeremias "Jerry" Elizalde Navarro (1924 - 1999)
Est: ₱1,600,000 - ₱2,080,000
Jeremias "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 The profusion and explosion of colors in Jerry Elizalde Navarro's oeuvre can be partly traced to his Bali paintings. Navarro commenced the Bali paintings beginning in 1989 during his first visit to the island, to which he would return occasionally. "Colors—the way colors are used is eye-boggling. I am used to seeing colors in a wellordered way. In Bali, color attains order in a disordered way; as if thrown haphazardly but with order when seen from a distance," Navarro delightfully expressed in his conversations with Rod. Paras-Perez. Bali offered Navarro a sense of artistic reincarnation. ParasPerez wrote: "After his encounter with Bali, the broad dashing calligraphic signature of his oeuvres attained a more vibrant, throbbing color pulse. Moreover, enough works remained within the traditional mode of structuring: a relational approach (to colors and brushwork) swirling around a central core or axis." During the latter part of his life, spanning the years 1993 to 1999, the spirit of abstraction found its way back to Navarro's canvas. From his Bali paintings, Navarro's style returned to abstract expressionism, which he previously explored starting in the 1950s. His art had finally come full circle. Perhaps the primary catalyst for this return was I Madé Sumadiyasa, a Balinese abstract expressionist artist born in 1971. Madé's works show the universal aspects of Balinese culture and philosophy. Cornelius Choy, the man who introduced the magnificence of Balinese arts and handicrafts to Navarro, recounted how the latter became convinced to return to abstraction. Choy shared: "Mr. Navarro always believed in that 'neatness.' But when he saw Madé's abstraction, something snapped. It was the bridge, perhaps, that he had been wanting to cross over for a long time. And when he had actually seen Madé's painting—that was the bridge. And he stepped over… and that's when these exuberant strokes started. Of course, he always had these strokes in his dancers. But he can paint dancers in one fashion, abstraction in another, and watercolor in another fashion. He was able to control that talent. But his abstractions—the last five years of his life—went into a different direction." Through a harmonious interplay of movement and colors, Navarro engendered an approach to abstract expressionism devoid of Western predominance, thus manifesting his Asian sensibility. With the dynamism of brushstrokes displayed by the slathering of paint, Navarro made evident the primary source of his abstraction: a fusion of underlying dynamic forces. Towards the end of his career, abstraction had become Navarro's "motif and content-bearer." (A.M.)
Leon Gallery
Jun. 11, 2022
Jeremias "Jerry" Elizalde Navarro (1924 - 1999)
Est: ₱1,800,000 - ₱2,340,000
Jeremias "Jerry" Elizalde Navarro (1924 - 1999) Of Griffins and Gargoyles signed and dated 5-20-93 (lower right) oil on canvas 57" x 45" (145 cm x 114 cm) PROPERTY FROM THE DON EUGENIO LOPEZ JR. COLLECTION The exuberant interplay of colors gave characterization to the abstract paintings of J. Elizalde Navarro. A feat keenly explored in the later years of his career, this can perhaps be traced to the artist's residency in Bali. In his first encounter with the tropical paradise, his color premises were among the first to be affected. According on Cid Reyes book titled J. Elizalde Navarro, the fine artist said: “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 an order when seen from a distance - mysterious - a predominance of primary colors, no mixtures. This throws out all the color laws from art schools.” An artist prominently known for his ever-evolving art styles and forms, his oeuvres attained a more vibrant hue in the early 90s. Furthermore, many of his works had "a relational approach to colors and brushwork swirling around a central core or axis." His canvases became a whirlpool of color, mixing colors on the spur of his emotions and creating unique and exquisite combinations. Such descriptions can also be observed in this J. Elizalde Navarro oil on canvas piece titled Of Griffins and Gargoyles. In 1993, Navarro staged three exhibitions in three consecutive days at three different galleries: The Ayala Museum, The Luz Gallery, and Duemila Gallery. Having a plethora of Baliinspired pieces, the exhibits were titled "Return to Abstraction." Navarro claimed that no single gallery could ever hold his works. The abundance and intensity of the Bali scenery had put Navarro in peril, who said he had not exhausted his options. Nevertheless, the abstract approach of Navarro was brilliantly demonstrated in his triumphant exhibits. Not so long after this fantastic turn of events, the National Artist would once again head a one-man show dedicated to him by the Metropolitan Museum of Manila in 1995, the “J. Elizalde Navarro: 45 Years of the Artist’s Works.” In the show, notable pieces belonging to his “Return to Abstraction” exhibit were displayed. (P.I.R.)
Leon Gallery
Apr. 23, 2022
Jerry Elizalde Navarro (1924 - 1999) - Untitled
Est: ₱40,000 - ₱52,000
Jerry Elizalde Navarro (1924 - 1999) Untitled pen and ink on paper 21” x 14” (53 cm x 36 cm)
Leon Gallery
Apr. 23, 2022
Jerry Elizalde Navarro (1924 - 1999) - Untitled
Est: ₱40,000 - ₱52,000
Jerry Elizalde Navarro (1924 - 1999) Untitled pen and ink on paper 21” x 14” (53 cm x 36 cm)
Leon Gallery
Apr. 23, 2022
Jerry Elizalde Navarro (1924 - 1999) - Constructions Forms
Est: ₱40,000 - ₱52,000
Jerry Elizalde Navarro (1924 - 1999) Constructions Forms signed and dated 1969 (lower left) pen and ink on paper 20” x 14” (51 cm x 36 cm)
Leon Gallery
Mar. 12, 2022
The Awakening of the Gods - Triptych
Est: ₱400,000 - ₱450,000
J. Elizalde Navarro (1924 - 1999) The Awakening of the Gods - Triptych Signed and dated '1993' (middle right) / '1993' (lower left) Watercolor on paper 68.5 x 56 cm (27 x 22 in) each Accompanied by a Certificate of Authenticity issued and signed by the artist
Salcedo Auctions
Mar. 12, 2022
Ubud, My Bali Series '94
Est: ₱1,600,000 - ₱1,800,000
J. Elizalde Navarro (1924 - 1999) Ubud, My Bali Series '94 Signed and dated '2-20-94' (lower left) Oil on canvas 81 x 122 cm (32 x 48 in) Accompanied by a Certificate of Authenticity issued and signed by the artist
Salcedo Auctions
Mar. 12, 2022
Mt. Banahaw from the Art Center
Est: ₱60,000 - ₱70,000
J. Elizalde Navarro (1924 - 1999) Mt. Banahaw from the Art Center Signed and dated '1984' (middle left) Aquarelle 24 x 38 cm (9 1/2 x 15 in)
Salcedo Auctions
Mar. 05, 2022
Jerry Elizalde Navarro (1924 - 1999) - A Cremation in Ubud, Bali
Est: ₱1,200,000 - ₱1,560,000
A Cremation in Ubud, Bali signed and dated 1988 (left) oil on canvas 35" x 35" (89 cm x 89 cm) National Artist Jerry Elizalde Navarro has come to be known for his powerful use of color and intelligible figurative approach. The renowned modernist puts on display his technical proficiency, elegantly rendering his subjects with a graceful and potent vigor—be they figurative or abstract. This very work by Navarro is a bit of an oddity. Very rarely does one come across works by the iconic modernist, more so one of such distinct subject matter. In the piece, Navarro makes use of strong, definitive, impasto strokes, adding to the grit of the composition. The stylized oeuvre features Navarro’s palette, but in a very different light. With brilliant color and refined restraint, Navarro captures the abstracted scenery in a very masterful fashion—his keen eye for detail and penchant for color put forth. In appreciating Jerry Elizalde Navarro’s interpretation of our southern indigenous cultures, the viewer should recall the artist’s exposure to the art of a place farther south: Bali, in neighboring Indonesia. Jerry Elizalde Navarro became the first Filipino artist at the Yayasan Dharma Seni Museum Neka in Bali, Indonesia. Eventually, Navarro was touched by the island’s visual traditions and in that distinctly Balinese sensitivity to movement and form.
Leon Gallery
Mar. 05, 2022
Jerry Elizalde Navarro (1924 - 1999) - The Bali Fantasy
Est: ₱800,000 - ₱1,040,000
The Bali Fantasy signed and dated 1.6.94 (left) acrylic on canvas 20" x 42" (51 cm x 107 cm) Jerry Elizalde Navarro's conversations with Botong Francisco sparked his interest in the island of Bali. Botong wanted to see "The Last Paradise on Earth" but never made it. In an Inquirer article dated October 15, 1989, Navarro mentioned: "In Bali, I thought of my friend, the late Carlos V. Francisco, who might have given his right arm just to see Bali close, like from ringside." Sensational tourism reports about Bali only intensified Navarro's desire to encounter the island's sheer beauty. Hence, Navarro always thought of Bali as a worthwhile experience for every artist who seeks to broaden their visual vocabulary and acquire new creative depths. Navarro commenced the Bali paintings beginning in 1989 during his first visit to the island, to which he would return occasionally. In the same Inquirer article, he wrote: "Bali stuns you with colors. A very vigorous and free profusion of colors in the Bali palette plays a major role in the unfolding of life there." Bali offered Navarro a unique tropical palette inspired by its landscapes, biodiversity, and culture. Navarro proved his capacity in innovating his art to meet the coloristic demands of the Balinese by operating within the realms of his Asian sensibility. The use of naturally occurring colors is essential in Balinese culture. Navarro stressed this importance in his Bali paintings as an homage to the culture he had grown to love. This acknowledgment made Navarro witness Bali as a fusion of underlying dynamic forces resulting in an explosion of colors rather than a purely visual extravaganza.
Leon Gallery
Mar. 05, 2022
Jerry Elizalde Navarro (1924 - 1999) - The Mountain Stream, Bali
Est: ₱100,000 - ₱130,000
The Mountain Stream, Bali signed and dated 5.20.91 (lower right and verso); dedicated 14 Dec '96 To Drs Benny & Mona, May this will remind you of us and we hope that the coming year will be fruitful for you two and the children.Jerry & Emma (verso) acrylic on paper 13 3/4" x 13 1/4" (35 cm x 34 cm) National Artist Jerry Elizalde Navarro’s 40-year long career reflects in his signature and vibrant art style. His unique take when it came to painting was a wide and free range that extended from abstract expressionism, cubism, pointillism, assemblage, and more that were presented in a variety of mixes in watercolors, acrylics, and oils. In many ways, Navarro’s unique free mindset is reflected through his vivid take on different art styles, and in this particular artwork, he portrays a mountain stream in Bali. The piece itself is somewhat unclear, as it is a blend of vivid colors spread across the canvas. The stream itself in the center is clearer and is surrounded by all of these colors, the nature of what could be trees and other fauna are depicted in vivid colors that range from bright to small hints of deeper colors. Above the stream are brighter shades of yellow and orange depicting light that reveals the rest of the surrounding nature and almost reflect on the waters. The stream and nature almost blend together as they get lost further down the waters and into the light. Being surrounded and lost within these bright colors that evokes this liveliness and emotion of joy and happiness, as if it is inviting the viewer to follow the stream itself and explore and think more on what else is there in this painting. Navarro reflects not only the liveliness of the art and culture and the beauty of the nature of Bali, but the artistic freedom that leaves the viewers to lose themselves in thought.
Leon Gallery
Jan. 29, 2022
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱60,000 - ₱78,000
Jerry Elizalde Navarro (1924 - 1999) Portrait of a Model signed and dated 1998 (lower right) pastel on paper 16 3/4” x 22” (45 cm x 56 cm) Accompanied by a certificate issued by Ms. Emma Navarro confirming the authenticity of this lot
Leon Gallery
Jan. 27, 2022
The Frog Dance
Est: S$55,000 - S$75,000
Navarro, Jeremias Elizalde (1924 - 1999, Filipino), The Frog Dance, painted in 1996, oil on canvas, 140 x 110 cm, inscribed, signed and dated on lower left inscribed on the reverse , Pick up point: Jakarta, Tags: Philippines, Filipino, modern, painting, Balinese, Bali IMPORTANT INFO Bidders need to know We encourage all buyers to check for condition reports and or other photos before bidding. The absence of a condition report does not imply that the lot is free from damage and wear. Please go through photos for more details on conditions and age; color will be different depends on your screen. All the items are sold as is and all sales are final. We encourage all bidders to review our terms and conditions before bidding. Please contact us through email [email protected] if you need any further information.
Larasati Auctioneers
Sep. 11, 2021
J. Elizalde Navarro (1924 - 1999) The Filipino Politician's Family
Est: ₱400,000 - ₱520,000
J. Elizalde Navarro (1924 - 1999) The Filipino Politician's Family signed and dated 1970 (lower right) acrylic on paper 24" x 36" (61 cm x 91 cm) P 400,000 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. 124 Due to his engagement in advertising arts that exposed him to the popular culture of his time, Navarro developed a fondness for Pop Art. This style was championed in the Philippines by none other than Navarro, although it is important to note that his “Pop Art period” was purely an experimental stage. Nevertheless, it is important to note that his “Pop Art period” was purely an experimental stage Nevertheless, Navarro integrated Pop Art with Abstract Expressionism, resulting in works that appear as mockeries of contemporary affairs. The Filipino Politician’s Family is Navarro’s take on the morally decrepit situation of Philippine politics, created at a time when the socio-political climate of the Philippines was in its tumultuous stage. Rendered in a satirical approach, Navarro portrays the politician’s family as comical figures who take advantage of their privilege and power to make a fool of the people – one that is symbolized by their ridiculous features. In the September 22, 1973 issue of The Asia Magazine, Navarro was featured in the “Artists of Asia” series. In the article “Practitioners of Pop Art,” Peggy Printz wrote: “Jerry E. Navarro has turned the slick poster style of commercial advertising into satiric Pop Art painting and sculptures with the vibrant colors and folk-art directness of his native Philippines. Using acrylic paints, often combined with tinted plexiglass or assorted found objects, he juxtaposes jarring colors, producing discordant, reverberating rainbows.” Printz added that “Navarro’s aims are typical of a large number of Asian artists who hope to reflect their environment through an art that is relevant to the time and place in which they live, and that also retains the flavor of their own cultural past.
Leon Gallery
Aug. 29, 2021
Cremation in Ubud
Est: S$12,000 - S$17,000
Navarro, Jeremias Elizalde (1924 - 1999, Filipino), Cremation in Ubud, painted in 1989, oil on canvas, 88 x 90 cm, inscribed, signed, and dated on left side, Pick up point: Jakarta, | Tags: Philippines, Filipino, modern, bali IMPORTANT INFO Bidders need to know We encourage all buyers to check for condition reports and or other photos before bidding. The absence of a condition report does not imply that the lot is free from damage and wear. Please go through photos for more details on conditions and age; color will be different depends on your screen. All the items are sold as is and all sales are final. We encourage all bidders to review our terms and conditions before bidding. Please contact us through email [email protected] if you need any further information.
Larasati Auctioneers
Jul. 16, 2021
Jerry Elizalde Navarro (1924 - 1999) - Portrait of ‘E’
Est: ₱80,000 - ₱104,000
Jerry Elizalde Navarro(1924 - 1999) Portrait of ‘E’ signed (upper right) oil on panel 11 1/2” x 10” (29 cm x 25 cm)
Leon Gallery
Jun. 05, 2021
Jerry Elizalde Navarro 1924 - 1999)
Est: ₱200,000 - ₱260,000
Jerry Elizalde Navarro 1924 - 1999) a) Made Dancing the Legong signed and dated 1959 (lower left) watercolor on paper 16” x 12” (41 cm x 31 cm) b) Untitled (Bali Series) signed and dated 1989 (lower right) charcoal on paper 16” x 12” (41 cm x 31 cm) Jerry Elizalde Navarro’s penchant for Bali had its roots with his conversations with the Angono master, Carlos “Botong” Francisco, who wanted to see “The Last Paradise on Earth” but never made it. In an Inquirer article dated October 15, 1989, the artist mentioned: “In Bali, I thought of my friend, the late Carlos V. Francisco, who might have given his right arm just to see Bali close, like from ringside.” Moreover, his desire to visit the famed city was invigorated by sensational tourism reports that the artist read from overseas. Navarro had always thought of Bali as a worthwhile experience for every artist. The Bali paintings were created beginning in 1989 during Navarro’s first visit to the island, to which he would return occasionally. Navarro was greatly stunned by the harmonious and complementary colors of the island. During his visits, he wrote: “The Balinese colors, which seem to have no rhyme nor reason, but are happily correct in Bali, influenced my palette.” Be that as it may, it is important to note that more than the glaring colors of Balinese culture, it was the island’s pristine, native soul that deeply inspired Navarro’s impressions of the region, leaving a mark of intense finesse and expressiveness in his artistry.
Leon Gallery
Jun. 05, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱700,000 - ₱910,000
Jerry Elizalde Navarro (1924 - 1999) Keeping Abreast with the Joneses signed and dated 1970 (lower left) collage on canvas, mixed media 21” x 30” (53 cm x 76 cm) This piece is accompanied by a certificate issued by the artist’s estate confirming the authenticity of this lot Provenance: Private collection, Manila Literature: Reyes, Cid. J. Elizalde Navarro . National Museum of the Philippines. Manila. 2008. p. 192. Throughout the history of art, artists have embodied their lovers as the quintessential template for their pieces, and nude painting is no exception to this. The physical and emotional connection shared by the artist and their lover has catalyzed the former’s virtuosic ingenuity. Being a painter herself, Emma Navarro understood the indispensable artistry and aesthetics of nude painting. Because she modeled exclusively for his husband, Jerry Elizalde Navarro, in the private realms of their studio, she had no reservations and did not become hesitant with regards to flaunting her body in a state of nature. Navarro’s collage-work Keeping Abreast with the Joneses exhibits the female breast as a series of developing and intensifying shapes, with the nipples used as directional signs, pointing towards a full figure of a female silhouette. This silhouette would eventually become an archetype in his nude themes, juxtaposed against interlacing geometric shapes. As explained by Cid Reyes, “the impulse to relate a curvilinear shape against a straight linear approach will be crucial to Navarro’s evolving pictorial language.”
Leon Gallery
Jun. 05, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱1,000,000 - ₱1,300,000
Jerry Elizalde Navarro (1924 - 1999) The Kimono From Ubud Bali signed and dated 1995 (upper left) oil on canvas 32” x 48” (121 cm x 80 cm) Provenance: Private collection, Manila This piece is accompanied by a certificate issued by the artist’s estate confirming the authenticity of this lot Literature: Reyes, Cid. J. Elizalde Navarro. National Museum of the Philippines. Manila. 2008. p. 197. Jerry Elizalde Navarro emancipated the nude from the limitations set by sobriety and diffidence. He enhanced and refined it, turned a blind eye to the conservative gauges of Philippine art, and intensified it with sensuality and hedonism. He may have been equaled in terms of draftsmanship by his contemporaries such as Manansala and Legaspi, but his fresh and unrestricted sultriness that is nonexistent in the works of others earned him a paramount distinction. Navarro had a superior understanding of anatomy, immersing himself in the indispensable dynamism of the human body and its sophistication. The Kimono from Ubud, Bali was a mural design in the private quarters of Navarro and his wife’s Parañaque residence. It presents two viewpoints: a silhouette of Navarro’s then-pregnant wife, Emma, with him facing her in full profile. He is portrayed standing like a kouros — the Greek nude male figure, which Cid Reyes likened to “an Apollo to Emma’s pregnant Venus.” This piece displays Navarro’s penchant for associating his life with his art. His nude pieces are exceptional due to their well-defined features, characterized by the proper application of light and shade which, according to the artist, “is very important in a nude painting.”
Leon Gallery
Jun. 05, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱200,000 - ₱260,000
Jerry Elizalde Navarro (1924 - 1999) My Mother’s Mirror signed and dated 1993 (lower right) oil on canvas 18” x 16” (46 cm x 41 cm) When working on his abstract works, Jerry Elizalde Navarro always employs dynamism and exuberance through his sound draftsmanship and sharp predisposition. Navarro’s flamboyant pieces encapsulate the allure of abstract illusionism. In this particular piece, color and form simultaneously occur and amalgamate into each other mellifluously. Navarro’s natural and uninhibited application of colored pigments concurrently directs his preferred shape or figure. The artist utilizes a vivid amalgamation of hues and gestural strokes, with elements of Oriental and Occidental elements coalescing together to form a harmonious and noteworthy work. Gesture is a significant component of this painting wherein striking brushstrokes are applied impetuously. The artist’s application of paint is characterized as salient, intersecting, and forming a synthesis of complementing hues. In essence, Navarro’s fresh take on Modernism is a reflection of his artistic freedom and accomplishment.
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924 - 1999) Untitled signed and dated 1969 (lower right) monoprint 13” x 18” (33 cm x 46 cm)
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924 - 1999) Warning, Sydney signed and dated 1969 (lower right) monoprint 12” x 18” (30 cm x 46 cm)
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924 - 1999) Untitled signed and dated 1969 (lower right) monoprint 13” x 18” (33 cm x 46 cm)
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924 - 1999) Ned Kelly, Sydney, Australia signed and dated 1969 (lower right) monoprint 14” x 18” (36 cm x 46 cm)
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924 - 1999) Untitled signed and dated 1969 (lower right) monoprint 13” x 18” (33 cm x 46 cm)
Leon Gallery
Apr. 09, 2021
Jerry Elizalde Navarro (1924 - 1999)
Est: ₱100,000 - ₱130,000
Jerry Elizalde Navarro (1924 - 1999) Christ has Risen, Sydney, Australia signed (lower right) monoprint 13 1/2” x 18 1/2” (34 cm x 47 cm)
Leon Gallery
Feb. 28, 2021
The Legong Kraton Dance
Est: S$20,000 - S$30,000
Navarro, Jeremias Elizalde (1924 - 1999, Filipino), The Legong Kraton Dance, painted in 1998, oil on canvas, 81 x 62 cm, titled, signed and dated on left edge, Pick up point: Jakarta, Tags: Philippines, Filipino, modern, painting, dance, balinese IMPORTANT INFO Bidders need to know We encourage all buyers to check for condition reports and or other photos before bidding. The absence of a condition report does not imply that the lot is free from damage and wear. Please go through photos for more details on conditions and age; color will be different depends on your screen. All the items are sold as is and all sales are final. We encourage all bidders to review our terms and conditions before bidding. Please contact us through email [email protected] if you need any further information.
Larasati Auctioneers
Nov. 28, 2020
Jerry Elizalde Navarro (1924 - 1999) - Untitled
Est: ₱500,000 - ₱650,000
Jerry Elizalde Navarro (1924 - 1999) Untitled signed (lower right) ca. 1960 wood Accompanied by a certificate issued by Mrs. Emma Navarro confirming the authenticity of this lot Estimate USD : $10000-$13000 Estimate Euros : €8333.33-€10833.33
Leon Gallery
Nov. 11, 2020
Reclining Nude
Est: £8,000 - £11,000
Navarro, Jeremias Elizalde (1924 - 1999, Filipino) (Philippines), Reclining Nude, 1989, oil on canvas, 62 x 91 cm, signed and dated on left side, Pick up point: Jakarta IMPORTANT INFO Bidders need to know We encourage all buyers to check for condition reports and or other photos before bidding. The absence of a condition report does not imply that the lot is free from damage and wear. Please go through photos for more details on conditions and age; color will be different depends on your screen. All the items are sold as is and all sales are final. We encourage all bidders to review our terms and conditions before bidding. Please contact us through email [email protected] if you need any further information.
Larasati Auctioneers
Oct. 03, 2020
Corny's Pelangi
Est: Rp90,000,000 - Rp120,000,000
Navarro, Jeremias Elizalde (1924 - 1999, Filipino), Corny's Pelangi, 1989, oil on canvas , 47 x 61 cm, inscribed, signed and dated on right side, Pick Up Point: Jakarta
Larasati Auctioneers
Sep. 19, 2020
J. Elizalde Navarro (1924 - 1999) - The Inscrutable East
Est: ₱700,000 - ₱910,000
J. Elizalde Navarro (1924 - 1999) The Inscrutable East signed and dated 1991 (left) oil on canvas Navarro was a certified globetrotter and cultural savant. During his lifetime, he not only explored various cultural and artistic centers and hotspots, but also took the time to study their local and traditional techniques, styles, and philosophies. Hence, one can find elements of Japanese, Balinese, and Western painting traditions in Navarro’s style that merge to make singularly intimate works. His gestural painting draws its sources not only from surrealism but from Asian aesthetics as well, which places a premium on spontaneity and quick insight. In this particular piece entitled The Inscrutable East, Navarro pays homage to his eastern and oriental influences. Clearly inspired by traditional calligraphy scroll paintings, Navarro expresses the enigmatic beauty of the quick yet succinct methodology of the medium. One can clearly see remnants of what appears to be logographic, or word-based characters positioned around the canvas, yet their intentions are to be felt rather than read. What Navarro expresses in this piece is the value of spontaneity as a form of artistic expression. Though careful and meticulous restraint when it comes to creation is still a worthy endeavor, Navarro understands that sometimes spontaneous practice unearths previously unknown boundaries. Estimate in USD $14000-$18200
Leon Gallery
Nov. 08, 2019
Awesome in Her Beauty
Est: £18,000 - £28,000
Navarro, Jerry Elizalde (1924 - 1999, Filipino), Awesome in Her Beauty, 1996, acrylic on canvas, 122 x 91.5 x 5 cm with painted canvas on all sides, signed and dated on upper left, inscribed on lower left
Larasati Auctioneers
Sep. 21, 2019
J. ELIZALDE NAVARRO (1924 - 1999)
Est: ₱180,000 - ₱200,000
"The Target" The Filipino CA '60s
Salcedo Auctions