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Juvenal Sansó (b. 1929) Caresses of Spring signed (lower right) ca. 1970s acrylic on canvas 25” x 36” (64 cm x 91 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot Owing to his predilection for peculiar-looking plants, the works of Juvenal Sansó overflow with a variety of flowers that can only be found in the lush imagination of a poet. His floral aesthetic is at once romantic and delicate. Furthermore, his unique flowers, as with his other favorite subjects, are said to be executed and culled from his enchanted memory. A contemplative artist, Sansó is noted for his paintings that have been related to poetic surrealism. As written in the French daily morning newspaper Le Figaro, “Sansó is a contemplative poet; his landscapes that seem fantastic are authentic, seen in the Far-East… his flowers, masses of rocks, the fishing traps… his tropical plants are all remembered so clearly that he can recreate them in his works… in this silent world no human figure seems to penetrate.” Sansó received several acclaims from all over the world, but one of the awards he treasures the most is the Presidential Medal of Merit, it is the most prestigious award given by the Philippine government to an artist for his contribution to visual arts in the country. (Isabella Romarate)
Leon GalleryJuvenal Sansó (b. 1929) La Hora del Cariño signed (middle right)ca. 1973 oil on canvas 25 1/2" x 31 3/4" (65 cm x 91 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot Juvenal Sansó’s plant aesthetic is sound and delicate, realistic and romantic. His rich imagination is brimming with the wealth of flora that are not found on waysides or seasides but only in the lush imagination of a poet. Although he is renowned for his experimentation and explorations on various themes, he still often finds himself painting his peculiar plants. Though he is more noted for his depictions of flowers, the fine artist also colored on his canvases some coral reefs that appear like bouquets. As a child who spent his boyhood in Paco, Sansó had many wonderful memories of pleasant days swimming in the Pasig River and family outings to Montalban in Rizal. From his early days in the Philippines to his frequent visits at the Brittany coast in France, he indeed was an artist close to nature. For that, his coral reefs and flowers, as with his other favorite subjects, are believed to be culled from his enchanted memory. His oeuvres, such as the lot at hand, reveals his distinct approach to poetic surrealism. “Sansó is a contemplative poet,” the French daily morning newspaper Le Figaro wrote. “His flowers, masses of rocks, the fishing traps… his tropical plants are all remembered so clearly that he can recreate them in his works.” (Isabella Romarate)
Leon GalleryJuvenal Sansó (b. 1929) Bahia Azul Sin Viento signed (lower right) ca. 1970s oil on canvas 24" x 36" (61 cm x 91 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot Juvenal Sansó is always inspired by his environment, and the deep bond between the artist and nature is revealed in his paintings that depict surreal landscapes and seascapes. He spent his boyhood in Paco and had many beautiful memories of pleasant days swimming in the Pasig River and family outings to Montalban in Rizal. His close relationship with nature did not end there, because later in his career as an artist, he would then often visit the Brittany coast in France, and the sights that caught his eye would find their way as well onto his canvases. As observed in the lot at hand, Sansó is the kind of artist who is able to mirror his sentiments into his oeuvres. His melancholic landscape paintings portray solitary sceneries, without human presence at all. However, an existential change within the artist is reflected through the colors that seep into his compositions. According to the catalog titled After the Deluge Comes the Dawn, it first came as background hues of reds or blues for his barong-barong and baklad- inspired landscapes, and later it manifested into his sketches of Brittany, France. The New York Herald Tribune wrote in an article, “Sansó shows attractively wishful landscapes and sea-coast scenes, some of the latter, painted in the Philippines and featuring cathedral-like constructions for trapping fish at low tide.” (Isabella Romarate)
Leon GalleryJuvenal Sansó (b. 1929) Latian (Chinatown Series) signed (lower right) ink on paper 11” x 8 1/2” (28 cm x 21 cm) Accompanied by a certificate issued by Finale Art File confirming the authenticity of this lot
Leon GalleryEarthly Paradise signed (lower left) acrylic on paper 10 1/2” x 8 1/2” (26 cm x 21 cm) Accompanied by a certificate issued by Finale Art File confirming the authenticity of this lot
Leon GalleryUntitled signed (lower right) ink on paper 6” x 6” (15 cm x 15 cm) Accompanied by a certificate issued by Finale Art File confirming the authenticity of this lot
Leon GalleryBlooming Tribute signed and dated 1990 (lower right) acrylic on paper 5 1/2” x 5 1/2” (14 cm x 14 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryLush Foliage signed (lower right) acrylic on paper 10 1/2” x 8 1/2” (27 cm x 22 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryBouquet and Vase signed (lower right) dated 1959 (verso) wax crayon on paper 15” x 10” (38 cm x 25 cm)
Leon GalleryUntitled hand signed (lower right) E.A print 12” x 18” (30 cm x 46 cm)
Leon GalleryQuaint and Picturesque 2021 limited edition, 16/40 archival giclee inks on acid free paper 7 3/4” x 10 1/4” (19 cm x 25 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryFishing Village hand signed (lower right) serigraph, Ep d Est VII 16” x 21” (41 cm x 53 cm)
Leon GalleryAbounding in Hope numbered 9/30 pigment ink on 300gsm velvet fine art archival paper (100% cotton) 16 3/4” x 22 1/2” (42 cm x 57 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryFramed Notecard (signed by the artist) signed by Juvenal Sanso 2014 commercial printing on paper board stock 5 1/2” x 3 3/4” (13 cm x 9 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryDiplomate hand signed (lower right) copperplate etching on paper, 11/50 8 1/4” x 6” (20 cm x 15 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryMajestic Haze signed (lower right) ca. 1990s oil on canvas 28 1/2" x 35 1/2" (72 cm x 90 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot PROVENANCE Private Collection, Manila Sansó's paintings are characterized by their vivid colors, bold brushstrokes, and strong sense of movement. He often draws inspiration from the natural world, particularly the landscapes and seascapes of his home country, the Philippines, and his sojourns; specifically his stay along the coastal area of Brittany, France. His works also incorporate elements of surrealism and abstraction, which adds depth and complexity to his compositions. Throughout his illustrious career, Sansó has exhibited his works in numerous exhibitions both locally and internationally. He has also won several awards, including the prestigious Patnubay ng Sining at Kalinangan award in 1978 and the Gawad CCP Para sa Sining award in 1990. (J.D.)
Leon GalleryPROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Window Shopping signed and dated 1956 (lower right) oil on canvas 24" x 36" (61 cm x 91 cm) León Gallery wishes to thank Fundacion Sansó for confirming the authenticity of this lot LITERATURE Roces, Alfredo. Sansó. Manila: Luis Ma. Araneta, Filcapital Development Corporation, and General Bank and Trust Company. Full-color spread on pages 42 to 43 and painting description on page 40. Juvenal Sansó's Window Shopping is an exemplary work from the artist's coveted and rare Parisian "Black Period" (1953 - 1957), in which he compellingly explores themes of trauma, anguish, and alienation in a post-war milieu. In his book Sansó, Alfredo Roces notes that the artist's "Black Period" was characterized by "paintings of Goya- esque humanity, grotesque, and macabre genres of Paris life." Window Shopping encapsulates Sansó's downcast Paris years and the city's post- war situation. The work at hand depicts an old man with his face worn out by depression and deprivation. He stares at a plethora of decorative objects. Still, he can only afford to gaze at these articles somberly without the money to meet their rather hefty prices. Suffering reigned in post-war Paris: people lived through meager food rations, homelessness proliferated amid a rising population (even many houses lacked decent accommodation), and general health was a concern. The development of Sansó's "Black Period" can be traced back to the artist's war experiences. The Philippines' involvement in World War II left terminal scars on Sansó. Roces recounts in the same monograph: "The war, and the period after, left permanent psychological and emotional scars on him. The senseless violence of the period, the scenes of inhumanity and depravity during the Occupation, the desperate and painfully pointless act of slaughtering civilians, and burning down large residential areas of Manila by the Japanese, were experiences that have colored Sansó's vision." After his post-war studies at the UP School of Fine Arts and the University of Santo Tomas, Sansó left for Europe in 1951, eagerly hopeful of jumpstarting a more successful art career. He resided first in Rome before settling in Paris in 1953. Sansó's early Parisian years were marked by miserable living; he merely relied on money his parents in Manila sent him. He struggled as a foreign artist in the global art capital's highly competitive atmosphere. Sansó shares of his Parisian life in the brochure of his 1974 retrospective at the CCP: "Going abroad is not merely buying a ticket and staying in a hotel all that...to me, it was facing myself...it was in Europe that I faced myself; I was in complete anonymity and loneliness out there, I just had to fend my way by myself." The future tycoon, Henry Sy, whom Sansó met by chance in Paris, said to the latter's parents upon his return to Manila: "I could barely hold back my tears when I saw how Juvi is living in Paris!" At the time of this painting, Sansó held his debut solo exhibition at Galerie de la Maison de Beaux-Arts in Paris. The show featured oils, watercolors, tempera, and etchings from Sansó's "Black Period." The exhibition's opening, which, as Roces remarks, "fell, ominously, on Good Friday," was a disappointment. There were hardly any guests, and Sansó only sold "one etching out of the entire show." Adding to these dismal circumstances and his ingrained traumatic memory of the war, Sansó incidentally encountered the Existentialists in the places he frequented, such as a café where he likely overheard Jean-Paul Sartre and Simone de Beauvoir talking about the human condition and position vis-à-vis forces of power in a post-war milieu and the tensions and repercussions of the ongoing Cold War between the United States and the Soviet Union and their respective allies. Thus, Sansó's mental and emotional agony, the collective distress of the Parisians, and the sociocultural context of his times are poignantly yet arrestingly translated into his art during this era. A year after this work, Sansó would return to the Philippines and grace the halls of the storied Philippine Art Gallery, mounting his first solo exhibition in the country. (A.M.)
Leon GalleryPROPERTY FROM THE DR. AND MRS. ROBERTO MACASAET COLLECTION Bright Tides signed (lower right) ca. 1960s oil on canvas 19" x 24" (48 cm x 61 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot Memory is a vital element in Juvenal Sansó’s artworks, as noted by Rodolfo Paras-Perez. The Catalonian fine artist started his enduring romantic affair with nature when he visited the country home of a couple, Agnes Rouault and Yves Le Dantec, in Brittany in the mid-1960s. Enraptured by the sea and rocky coastline, Sansó was swept off his feet there and then. The secluded shoreline became a source of healing for his traumatic experiences in wartorn Manila, ushering him to percipience, a place where he perfected and defined his style. As John Ashberty of the New York Herald Tribune had written, Sansó “shows attractively wishful landscapes and sea-coast scenes.” In this particular oil painting, Sansó explores the immediacy of plein-air studies. He seems to reveal in this unique work how much value he placed on the subtleties of light and atmosphere. His broad brushstrokes provide visual equivalents of natural objects and ambiance of weather. The expansiveness of space shows a previously overlooked preoccupation with the sky and cloud studies, and the intricate details of the rock formation that complements the tranquil ocean give a glimpse of how Sansó emphasizes memory as a critical component in his paintings, thus leaving a mesmerizing appeal. (P.I.R.)
Leon GalleryPROPERTY FROM THE ZITA FELICIANO COLLECTION Untethered Form signed (lower right) 1980s oil on canvas 18" x 37" (46 cm x 94 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot Juvenal Sansó’s plant aesthetic is sound and delicate, realistic and romantic. His rich imagination is brimming with the wealth of flora that are not found on waysides or seasides but only in the lush imagination of a poet. He is renowned for his experimentation and explorations on various themes, still, he often finds himself painting his peculiar plants. Though he is more noted for his depictions of flowers, the fine artist also colored on his canvases some coral reefs that seem like bouquets. His oeuvres, such as the lot at hand, reveals his distinct approach to poetic surrealism, considering that he is no stranger to painting surreal subjects. For that, his coral reefs and flowers, as with his other favorite subjects, are believed to be culled from his enchanted memory. As a child who spent his boyhood in Paco, Sansó had many wonderful memories of pleasant days swimming in the Pasig River and family outings to Montalban in Rizal. From his early days in the Philippines to his frequent visits at the Brittany coast in France, he indeed was an artist close to nature. “Sansó is a contemplative poet,” the French daily morning newspaper Le Figaro wrote. “His flowers, masses of rocks, the fishing traps… his tropical plants are all remembered so clearly that he can recreate them in his works.” (P.I.R.)
Leon GalleryMontmartre signed (lower right and verso); dedicated 'To Domingo and Alice Dee with fond memories of Paris!' (verso) dated 1953 oil on canvas 17 1/2" x 14" (44 cm x 36 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot PROVENANCE: Acquired directly from the artist LITERATURE: Paras-Perez, Rodolfo. Sansó: Art Quest Between Two Worlds. Manila: Eugenio Lopez Foundation, Inc., 1988. Full color photograph and painting description on page 12. Juvenal Sanso's early works not only reflected his artistic prowess but also hinted at his personal experiences and influences. Having experienced the ravages of war and exile during World War II, Sanso's artworks often carried a sense of longing, displacement, and a desire for freedom. These themes were subtly interwoven into his abstract compositions, inviting viewers to explore the emotional depths within his paintings. Sanso's early works also showcased his command of various mediums and techniques. He experimented with different materials, including oil paint, mixed media, and collage, pushing the boundaries of traditional artistic practices. His bold and innovative approach to materials allowed him to create textured surfaces, layering techniques, and intricate compositions that added depth and complexity to his artworks. (J.D.)
Leon GalleryJuvenal Sanso (b. 1929) Blush of Gold signed (lower right) acrylic on paper 6 1/2” x 8” (16 cm x 20 cm) PROPERTY FROM THE LLITA TORRALBA LOGARTA COLLECTION Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon GalleryJuvenal Sansó (b. 1929) Manola, A/P (in brown ink) signed (lower right) 2014 Fundacion Sanso Inaugural edition copperplate etching 9” x 7” (23 cm x 18 cm) Accompanied by a certificate issued by Fundacion Sansó confirming the authenticity of this lot
Leon Gallery