Macario Vitalis’s plight during the Second World War is an unfortunate one – born in Ilocos Sur, Vitalis left the country for San Francisco where he studied at the California School of Fine Arts. He had with him a Commonwealth of the Philippines, USA passport, allowing him entry to the US and later to Europe, where he stayed briefly in London before eventually settling in France. However, it was this US passport that led to his incarceration in 1941. The Second World War had set its stage on European and Asian soil and when the Germans marched through France in 1940, Vitalis was noted as an “enemy of the state” due to his unfortunate passport (the Philippines at the time was a Commonwealth of the United States) and in July 1941 was brought to Stalag 23 in Compiègne.
Here he stayed for three years where he painted and drew scenes he saw in the camp before he was released in 1944. The lot at hand Paysage was created in the year he was released. Following his incarceration, he returned to the western suburbs of Paris called Puteaux where he had settled prior to the war. It was here where he became acquainted with Camille Renault who owned the theater-restaurant “Big Boy” and with him came the Puteaux Group, a collective of artists associated with Cubism and Orphism who gave Vitalis his first encounter with Cubism. Paysage, meaning “landscape” in French, is a Cubist depiction of a sprawling urban city. He uses bright luminous colors, using them less as an accurate depiction and more as an intuitive representation. The result is a vibrant piece that features yellow skies, violet roofs, and green shadows. With his extensive knowledge of cubist impressionism, Vitalis executes his vision elegantly with his dynamic color palette, expressive composition, and refined interplay of space and planes.
Macario VITALIS (1898-1989) Crucifixion, vers 1959-1960 Huile sur isorel Signé en bas à gauche 53 x 15 cm ; avec cadre 67 x 29 cm Ce tableau sera intégré au catalogue raisonné de l'association " Les Amis de Vitalis ".
Untitled signed (lower left and verso) dated 1961 (verso) oil on canvas 19" x 24 3/4" (48 cm x 63 cm) León Gallery wishes to thank Comité Vitalis for confirming the authenticity of this lot Creating another masterpiece that exemplifies his mature art style, this 1961 artwork by Macario Vitalis transformed the natural landscape into a quiet, primal depiction of nature. Portraying a composition that displays an image of a winding forest path that recedes into the distance. The gaze was then drawn to several figures that instantly shattered the quietness and peace of the environment—transitioning from stillness to straight-up tension. In the lower right of the canvas, a black boar strolls in peace, followed by two hunting dogs. On the left side, a hunter with a rifle aims at the unsuspecting boar, ready to shoot the wild animal. In this way, Vitalis had perfectly captured the moment of suspense wrapped in the stillness of the landscape in this beautiful masterpiece. The tranquil mood of the landscape and the suspense of the hunter going for the kill transform the viewer into a tense observer waiting for what would happen next—would the hunter miss their target? Will the boar escape from the hunting dogs? Will the silence of the forest be broken by the gunshot? (Mark John Castañeda)
Place du Tertre, Paris signed (lower left) ca.1930 oil on canvas 19 1/4" x 24" (49 cm x 61 cm) León Gallery wishes to thank Comité Vitalis for confirming the authenticity of this lot Inspired by the peaceful streets of Montmartre, Macario Vitalis’ featured art offers another example of his Impressionist-inspired techniques, reflecting the Parisian streets he likely encountered in France and aligning with the artist's time spent and work in Europe. Reflecting the famous historic central square in Montmartre, the Place du Tertre—known as the gathering place for writers, poets, and artists alike, including Picasso and Matisse. With the scene being painted with softened edges, likely to suggest a feeling rather than its identity, Vitalis presents a personal impression of the place, like a recollection rather than direct observation. Highlighting Paris’ atmosphere, memory, and quiet beauty, and inducing observers to absorb the mood rather than analyze the details. (Mark John Castañeda)
Untitled signed (lower right and verso) dated 1959 (verso) oil on canvas 9” x 10 3/4” (23 cm x 27 cm) Leon Gallery wishes to thank Comité Vitalis confirming the authenticity of this lot This 1959 Macario Vitalis work, like many of his works, echoes the Parisian inspiration that permeated his oeuvre throughout his career. Falling into the company of Puteaux’s cubist artists called “The Golden Section,” Vitalis’s work echoed the electric zeitgeist of pre-war Paris. His impressionistic brush strokes are center stage in this piece. Perhaps an en plein air work, Vitalis portrays a view of the sea and the rocky shores below. Shades of orange, brown, and green mingle with the blues Vitalis uses for the sea. Through its erratic brushstrokes, Vitalis’s abstract work is a whirlwind of love and light, capturing France in all her beauty. (Hannah Andrea Valiente)
Untitled signed and dated 1928 (lower left) pastel on paper 21” x 25” (53 cm x 64 cm) Leon Gallery wishes to thank Comité Vitalis confirming the authenticity of this lot Representing everyday urban life in Paris, Macario Vitalis’ wonderful artwork offers a calming visual image that demonstrates his early artistic development in Paris, which laid the foundation for his later, strong Cubist style. Made in 1928—a few years after Vitalis arrived in Paris —the artwork features a narrow street layout (possibly Montmartre) with multi-story Parisian buildings and trees, while pedestrians and carriages are present and interact candidly in small groups. Rather than depicting a dramatic action, the artist captures a moment of ordinary Parisian life, offering a calm, observational, and intimate viewing experience. (Mark John Castañeda)
PROPERTY FROM THE CHRISTINE THORAILLER COLLECTION Bayanihan (Ballet de Femmes des Philippines) signed and dated 1965 (lower right and verso) oil on canvas 11 3/4" x 29 1/2" (30 cm x 75 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot LITERATURE Macario Vitalis: Un Peintre Philippin en France (Catalogue d'Exposition). Puteaux: Maison Lorilleux and the Philippine Embassy in France, 2022. Published on the occasion of the exhibition of the same title at Maison Lorilleux in April to June 2022. Full-color illustration and painting description on page 41. EXHIBITED Maisson Lorilleux, Macario Vitalis: Un Peintre Philippin en France, Puteaux (In partnership with the Philippine Embassy in France), April 10 - June 5, 2022 France is deeply embedded in the artist Macario Vitalis’s artistic consciousness. Finding himself in France in 1925 after a few years of art studies in the United States, it seems as though the agreeable nature of the City of Love meshed well with Vitalis’s pursuit of art. He settled first in Montmartre, then in Puteaux, where he got his arguably biggest source of inspiration when he met Camille Renault. The owner of Big Boy restaurant at 92 Hauts-de-Seine, the place is also known for its importance to the Cubist group of Puteaux. Also called “the Golden Section,” the Puteaux group often meets at Big Boy, and it was there that Vitalis fell into place with the group. This particular work shows Vitalis taking inspiration from one of the Puteaux group members. Jacques Villon is best known for his colorful, geometric aesthetic that does not veer away from recognition. Even his most nonrepresentational work is derived in some way from real life, offering a fresh view on a familiar image. This work echoes that sentiment. In a color scheme reminiscent of Villon, Vitalis portrays a group of six women in yellow dresses, his iconic cubistic style taking center stage. His cubism fragments his subjects, but, ever a romantic, they are still as recognizable. Truly a work that is reminiscent of the lively Parisian art scene of the time, this work shows not only Vitalis’s French artistic inclination but also the country’s lifelong effect on his art (Hannah Valiente)
Portrait of a Lady signed and dated 1950 (lower left) oil on wood panel 16" x 13" (41 cm x 33 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Private collection, France Demonstrating his Post-Impressionist and Cubist influences he acquired from his European studies, Macario Vitalis' masterpiece showcases his ability to merge figurative representation with modernist abstraction. This creates a deeply expressive art piece that connects classical portraiture and avant-garde color experimentation. Featuring a female figure wearing a headscarf, brought to life through a complex blend of colors and geometric forms, Vitalis managed to integrate the sitter's features with the surrounding abstract background, creating a fusion of face and space—transforming the subject to be both real and dream-like. Macario Vitalis' beautifully deep masterpiece creates a fragmented yet harmonious piece that mirrors both the inner and outer complexity of the sitter. Basically, transforming a traditional painting into a study of structure, color, and emotion. (Mark John Castañeda)
Nativity Scene signed and dated 1959 (lower right) oil on canvas 25 1/2" x 32" (65 cm x 81 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Private collection, Paris Macario Vitalis' 1959 artwork, entitled Nativity Scene, transforms a universally recognized Christian theme through modernist abstraction. Fusing Cubism and Expressionism to his craft, the result is a magnificent art piece that reinterprets traditional themes with a distinct hint of personal and cultural sensibility. Painted through the color palettes of warm ochres, deep maroons, soft blues, and muted greens, the composition features a significant scene from Christianity, namely the holy birth of Jesus Christ. At the center left is Mary cradling the infant while surrounded by figures of adoration— possibly the shepherds or wise men. The yellow-orange hue on the background further hint a sense of divine illumination through the fragmented holy scene, making it more sacred despite the fragmented image. The interplay of light and form captures the mystery of divine incarnation more than the literal event. Such painting further exemplifies Vitalis' mastery of expressive abstraction. By transforming a sacred story into a visual meditation on light, form, and faith, he thereby bridges the gap between modernism and tradition. Its fragmented beauty and vivid color harmonies reflect the timeless wonder of the birth of Christ—suggesting that the divine can be felt beyond abstraction, color, and composition rather than an iconographic precision. (Mark John Castañeda)
a.) Untitled signed (lower left) tempera on paper 9 1/2” x 14 1/2” (24 cm x 37 cm) b.) Untitled signed and dated 1987 (lower left) tempera on paper 9 1/2” x 14 1/2” (24 cm x 37 cm) c.) Untitled unsigned tempera on paper 10 1/4” x 13 3/4” (26 cm x 35 cm)
Nature morte aux poissons signed and dated 1959 (lower right and verso) oil on canvas 18" x 21 1/2" (46 cm x 55 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Private collection, Paris This painting by Macario Vitalis, dated 1959, is a striking example of his mid-career transition into a modernist, semi-cubist style, blending still life with abstract geometry and bold color planes. The composition features a still life scene centered around two fish on a plate, rendered with angular, faceted brushstroke, a bottle and glass, done in a fragmented, translucent style reminiscent of Cubist layering. A lemon or citrus fruit can be seen in the lower left corner. All of these sit atop a red table, which contrasts sharply with the cooler blue and neutral-toned background. The background contains abstract, fractured shapes, which add dynamic tension and texture, possibly representing objects or shadows in a cubist dissection of space. In 1959, Vitalis had been deeply immersed in the Parisian modernist milieu, and this work reflects obvious influences of Cubism (Picasso, Braque, etc.) The fragmentation of form, geometric abstraction, and flattening of depth, especially in the bottle and fish, shows in particular a clear influence from Analytical Cubism. But Vitalis was avid of integrating into his own all the trends which had been emerging on the bright French scene, and the vivid, nonnaturalistic color palette, especially the warm reds and cool blues, recalls Fauvist approaches. Colour is used to define planes rather than create illusionistic depth. Despite the European style, the fish subject, typical in Filipino everyday life, also reflects a nostalgic cultural identity rooted in his homeland. This balance of local theme and European technique was characteristic of Vitalis’s synthesis during his mature years in France. This 1959 painting shows Vitalis in a mature, experimental phase, confidently bridging European modernism and synthetizing all the trendy movements of his time with a Filipino narrative core. The work is not merely a still life—it is a study in form, fragmentation, and chromatic tension, exemplifying his unique voice in the Filipino diaspora’s artistic evolution.
Paysage à La Forteresse signed and dated 1959 (lower right) oil on canvas 18" x 21 1/2" (46 cm x 55 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Galerie Camille Renault, Puteaux This 1959 painting by Macario Vitalis is a luminous, semi-abstract landscape of a castle scene near Plestin-les-Grèves, in Brittany, a region where Vitalis was to move from Paris and settle for much of his later life. The painting blends cubist construction with impressionist colour sensibility, capturing both the architectural form and the atmospheric mood of the locale. The central focus is a castle, perched above a body of water, with its reflection softly mirrored below. The forms are broken into faceted geometric blocks, in the style of synthetic cubism, yet retain enough figuration to be readable as buildings and landscape. The color palette is rich in teals, rusts, ochres, and sea greens, creating a harmony evocative of coastal Brittany light. This 1959 painting is highly significant for several reasons. By 1959, Vitalis had absorbed Cubist structure but was increasingly layering it with personal memories and French provincial subjects. He had not moved to Plestinles- Grèves yet, and was therefore just visiting. This work marks a mature phase, moving from experimentation into a confident fusion of modernism and place-based narrative. This painting is among the earliest examples of Vitalis’ Plestin-period works, reflecting his deepening relationship with the landscape of Brittany, showing an early shift away from Parisian still lifes and urban themes toward regional identity and nostalgia. It is one of the clearest visual records of Vitalis’ geographic and emotional environment in France—documenting a real location through a modernist lens. Paysage à la Forteresse is a painting that contributes to the Filipino diaspora’s cultural mapping, particularly among Filipino modernists working in Europe post-WWII.
The Village View II signed (lower right) dated 1967 (verso) oil on canvas 7 1/2" x 9 1/2" (19 cm x 24 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Private collection, Paris
The Village View I signed (lower right) dated 1956 (verso) oil on canvas 13" x 16" (33 cm x 41 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Private collection, Paris Showcasing his mature proficiency in the Post- Impressionist art style, these works by Macario Vitalis, which were created in the late 1950s for the first work and 1967 for the second piece, creatively capture the everyday landscape during his permanent residency in Plestin-les-Grèves, Brittany. The paintings depict a faceted view from an elevated platform (possibly from a rooftop or balcony) overseeing Plestin-les-Grèves. A towering structure, the Church of St. Efflam ("Église Saint-Efflam" in French), a town-square church built in the 15th century and where the tomb of its namesake was housed, stands tall in the middle of the landscape, surrounded by small houses and establishments. Vitalis employs a luminous color palette to give life to the canvas, creating works that depicted the ambiance of post-war Parisian life. These works are most likely two study pieces (bocetos), considering their small dimensions and the identical subject matter. (Mark John Castañeda)
Untitled signed and dated 1955 (verso) oil on canvas 5 1/2 x 7 1/4” (14 cm x 18 cm) León Gallery wishes to thank Comité Vitalis for confirming the authenticity of this lot
Still Life signed and dated 1945 (lower right) oil on canvas 32" x 25 3/4" (81 cm x 65 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE Private Collection, Paris Macario Vitalis belongs among the roster of artists who find themselves enamoured by the streets and the life in France. After spending several years in the United States after leaving the Philippines, Vitalis soon embarked for Paris in 1925. Although this period was marked as a difficult one financially, it was in the City of Art that he flourished in his art. His still-life, in particular, is a result of his artistic odyssey. Beginning at the San Francisco School of Fine Arts and then the Philadelphia School of Fine Arts, it follows that Vitalis, too, has mastered this theme. He particularly likes Paul Cézanne’s still-life paintings, which often include portrayals of fruits. Vitalis’s still-lifes are often comprised of bouquets of flowers. The influence of several modernist painters is evident in his oeuvre, especially since his settlement in Puteaux and its group of ragtag artists. In this particular still-life, one could pick up Vitalis’ vivid colors and unique brushstrokes, lending to quite an interesting depiction of flowers. Indeed, Vitali brings life into his subjects, spinning an infinite web of stories using only inanimate objects preserved in a single snapshot of time. (Hannah Valiente)
Calvary Scene signed (verso) oil on canvas 24” x 10” (61 cm x 25 cm) Provenance Acquired directly from the artist Many of Macario Vitalis’ early artworks reflect the harrowing events he witnessed and experienced during wartime in France. He was also brought to a concentration camp where he spent his time sketching and doing portraits. After the war, he abandoned his depressing war-themed pieces and instead started doing landscapes and traversing through the topic of religion. Calvary Scene is one of the artist’s religious-themed paintings, depicting three women at the foot of the Cross where Jesus Christ was crucified. This piece bears Vitalis’ signature style, skillfully blending his colors by dabbing his brush on the canvas to create his figures and making expert use of every space, leaving no part of the canvas uncolored. (Jessica Magno)
Property from the Ricco and Tina Ocampo collection Macario Vitalis (1898 - 1990) Portrait of a Lady signed and dated 1937 (lower left and verso) oil on canvas 26" x 20" (66 cm x 51 cm) León Gallery wishes to thank Ofelia Gelvezon-Tequi and Claude Tayag for confirming the authenticity of this lot Power Couple Ricco and Tina Ocampo The Nineties’ power couple that started it all in Philippine fashion, Ricco and Tina Ocampo figured in the success of “Sari-Sari”, founded with the Ocampo cousins, and went on to open stores such as “Mix”, “The Black Shop” and “Anonymous”, bringing cutting-edge foreign trends to Manila. There was also “Dalagita” and “Pambahay.” Tina was the most famous faces of the period doing campaigns with top photographers such as Neal Oshima and Jun de Leon. Press reports would say, “Because Ricco and Tina are also foodies, they also ventured into the food business as well with establishments like Kai, the modern Japanese restaurant in Greenbelt; Cerveseria, a vibrant Spanish restaurant in BGC known for its authentic flavors and lively atmosphere; Mangan, which serves beloved Kapampangan dishes; and Isogi, a quick-service Japanese eatery at San Antonio Plaza for on-the-go diners.” In the millennium, the irrepressible duo would jump feet first into fashion and accessory design, members-only private clubs, and property development. Through it all, they would collect art to decorate their homes as well as those of their many friends and clients. The portraitures of Macario Vitalis, like many of his artworks, echo his Parisian leaning. Though spending years in the US, Vitalis’s art truly flourished during his stay in France. He encountered Cubism when he became acquainted with the Groupe de Puteaux, proponents of Orphic Cubism that often met at “Big Boy,” a restaurant owned by Camille Renault located at 60 Avenue de la République in Puteaux, France. Both the Puteaux Group and Renault would have a huge impact on Vitalis’s life, both personally and through his art. His 1957 Portrait of a Lady embodies a hint of Vitalis’s post-impressionist era. His early portrait painting had a hint of the École de Paris – Montmartre art style, and while Portrait of A Lady was painted far past his impressionist era, it still carried a touch of it. This particular portrait is not as cubistic as his later works but it showed the beginnings of it – the young girl pictured is still recognizable, still in picture-perfect form, but the brush strokes Vitalis employed created an impressionist air to it. Perhaps it is the short, almost staccato brush to it, or perhaps the sudden changes of mid-object – either way, Portrait of a Lady shows the crossroads of Vitalis’s art style. From the post-impressionism that dominated France upon his arrival to the Cubistic influence of the Puteaux Group, Portrait of a Lady is the perfect melding of the multitude of Vitalis’s art styles. (Hannah Valiente)
Macario Vitalis (1898 - 1990) Chiens de Chasse dans Un Intérieur signed and dated 1939 (lower left) oil on canvas 38" x 51" (97 cm x 130 cm) Accompanied by a certificate issued by Ofelia Gelvezon-Tequi and Claude Tayag confirming the authenticity of this lot Provenance: Boisgirard – Antonini, École de Paris - Peintres de l’Europe de l’Est - Peintres Étrangers - Tableaux Modernes, Paris, 1 July 2015, Lot 124 Macario Vitalis’ Montmartre - Puteaux Period An Early Work from the Artist’s First Artistic Phase by Adrian Maranan This 1939 masterpiece Hunting Dogs in an Interior (Chiens de chasse dans un intérieur) belongs to Macario Vitalis' first artistic period, the "Montmartre – Puteaux Period" (1925 to 1944), in which his earliest works are to be found. In the catalog for Vitalis' 1986 retrospective at the Cultural Center of the Philippines, the renowned art critic Alice Guillermo writes that works belonging to this formative phase in the artist's burgeoning painting career "capture the atmosphere of France antebellum (aka pre-World War II) in its people and townscapes." Les Amis de Macario Vitalis (The Friends of Vitalis), the association that aims to preserve the legacy of the artist, says that this early period when Vitalis settled in Paris was dominated by financially difficult years. During this time, Vitalis hoped to make it big in the highly competitive arena of the global art capital. But even before his Parisian period, Vitalis had already made it known to himself that his passion for art would serve a dual purpose: a source of living and a wellspring of breathing amid a constantly and persistently troubled life. Born to a middle-class family in Lapog (now San Juan), Ilocos Sur, at the twilight of Spanish colonization in 1898, Vitalis left the country for San Francisco, California with his brother Estel in 1917. Guillermo writes in the catalog of the Vitalis retrospectives: "When he left the country for America…at a time when Filipinos sought adventure and opportunity abroad as migrant workers in the pineapple plantations of California and the canneries of Alaska, the first thing Vitalis did…was to enlist for art school…." Vitalis first enrolled at the California School of Fine Arts, eventually transferring to the University of San Francisco (Berkeley), all the while working as an elevator boy and "saving for art materials by a diet of ice cream," as Guillermo puts it. In 1924, Vitalis enrolled at the Pennsylvania Academy of Fine Arts and, after two years, would sojourn to London before finally settling in Paris on August 5, 1926. That same year, Vitalis would study at the Académie de Beaux-Arts de Montmartre. He settled in Montmartre, considered the artistic heart of Paris, the global art capital. Montmartre was also where eminent artists, such as Van Gogh, Picasso, Toulouse-Lautrec, Modigliani, and Valadon, once set up their studios. In Montmartre, Vitalis encountered financial difficulties, as with the many bohemian artists living in the district at the time. He shared an atelier with two other artists at 66 Rue Lepic, a few blocks away from where Van Gogh had once lived. Despite his financial constraints, Vitalis found the pleasant atmosphere of Montmartre suitable for his artistic pursuits. The 1965 song 'La Bohème' by the French-Armenian musician Charles Aznavour perfectly describes the lifestyle of artists in Montmartre: "Often I would, in front of my easel, spend sleepless nights altering the drawing of the line of a breast, of the curve of a hip, and only in the morning, we would finally sit, in front of a coffee with milk, exhausted but delighted. We must have loved each other and loved life." As an artistic hubbub, Paris gave rise to the École de Paris, encapsulating its significance as the heart and soul of Western art in the first half of the 20th century. The city became a melting pot of avant-garde styles, including Fauvism, Cubism, Orphism, Surrealism, and Dadaism. During these early years, Vitalis gravitated towards the figurative. Not only was this a result of his academic training during his "American years," but also because excellent draftsmanship was highly valued by the artists affiliated with the School of Paris. Vitalis had many things to prove then; he had just jumpstarted his artistic career, hoping to break through in the dynamic art capital and make a name and living for himself through his passion for art. Hunting Dogs in an Interior captures Vitalis' penchant for depicting the atmosphere and milieu of pre-World War II Parisian life in his early career. Eleven hunting dogs of the breed Hungarian Vizsla are shown seated—with one sniffing the ground—inside a lavish room with interiors of the Art Deco style, which was ubiquitous in Paris until the beginning of World War II in 1939. The emphasis on a brown palette, a characteristic of academic painting, endows the scene with a palpable sense of realism and a highly enigmatic atmosphere. Vitalis' color scheme and sensibilities of form are highly influenced by Paul Cezanne, one of his foremost luminaries whose still lifes Vitalis greatly admired. By the time of the creation of this work, Vitalis had already met Camille Renault around 1935-36. Renault was a noted art collector, patron, and owner of 'Big Boy,' a theater-restaurant at 60 Avenue de la République in Puteaux. From 1925 until 1967, the place was a common ground for artists and the Le Tout-Paris, the city's affluent elite who frequented trendy spots. In 1937, Renault offered Vitalis a maid's room above Big Boy, where Vitalis set up his studio and stayed for nearly 20 years. He also exhibited at the restaurant, thanks to Renault. In exchange, Vitalis did the restaurant's set designs, decorated the theater during shows, and often assisted in the kitchen. Vitalis and Renault would form a lifelong friendship, treating each other as family, with the former even joining the latter's family excursions. It would also be at Big Boy where, in 1940, Vitalis would meet and befriend Jacques Villon, aka Gaston Duchamp, the elder brother of Marcel Duchamp. Villon was a noted member of the Groupe de Puteaux (Section d'Or), who, along with his brother Marcel, Robert and Sonia Delaunay, Fernand Leger, and Jean Metzinger, among others, pioneered Orphism. This Cubist-influenced style emphasized vivid, prismatic colors and was a progenitor to pure, non-objective painting. Vitalis would turn to Orphism after the war.
Macario Vitalis (1898 - 1990) Seascape ca. 1984 - 1985 oil on canvas 8 1/2" x 13" (22 cm x 33 cm) Provenance: Cultural Center of the Philippines Museum Exhibited: Cultural Center of the Philippines, Macario Vitalis: A Retrospective Exhibition, Manila, 1 - 27 August 1986 Macario Vitalis, a Filipino painter known for his impressionism and pointillism works, was deeply influenced by his experiences. His passion for the arts led him to foreign lands, first in the US and then to the heart of the art world, France. However, during his early years in France, he was caught up in harrowing conditions, such as the Great Depression and World War II. Thus, his works revolved around these social conditions. After the war, he settled in Plestin-les-Gréves, which became the subject of his subsequent paintings, for it offers a magnificent landscape. Vitalis’s Seascape is a captivating masterpiece that adheres to post-impressionism, with blues and yellows dominating his palette. His unique pointillism style is highly evident in this oil painting, a harmonious blend of carefully thought-out daubs of bright colors in varying tints and shades. Here, the artist portrayed a serene image of the calm waters cradling two boats by the shore and a clear blue sky over the horizon. As such, Vitalis’s excellent brushwork and profound understanding of color and space are on full display in this painting, enlivening his image with daubs of paint and making expert use of every space, leaving no part of the canvas uncolored. (Jessica Magno)
Untitled (Portrait of a Lady) signed (lower left and verso) dated 1945 (verso) oil on wood 13 3/4” x 10 3/4” (35 cm x 27 cm) Leon Gallery wishes to thank Ofelia Gelvezon-Tequi and Claude Tayag for confirming the authenticity of this lot Perhaps France played a pivotal role in Filipino painter Macario Vitalis’ life and artistic journey. With his determination to learn and his passion for the arts, Vitalis ventured overseas to further his art studies. After a few years in the United States, he made his way to France, where he studied at the prestigious Academie de Montmartre. There, he worked in a restaurant owned by Camille Renault, who welcomed him into his family and had his works exhibited and sold in his restaurant. Vitalis was also able to establish his own art studio and formed a bond with a group of influential modernist painters in the Parisian suburb of Puteaux, a relationship that profoundly influenced his works. Having spent most of his life in France, Vitalis’ works were inevitably influenced by the European post-impressionist masters. One of his earlier works, this 1945 piece features a portrait of a lady, one of the subjects he spent most of his time with while in a concentration camp during World War 2. Macario Vitalis’ unique style of pointillism is highly evident in this oil painting, a harmonious blend of carefully thoughtout daubs of bright colors in varying tints and shades, ingeniously creating an elegant portrait. In 1986, Vitalis held a retrospective exhibition at the Cultural Center of the Philippines’ Main Gallery, putting on view over a hundred of his masterpieces. (Jessica Magno)
MACARIO VITALIS (1898-1989) Paysage à la forteresse, 1959 Huile sur toile Signée et datée '[19]59' en bas à droite Signée et datée '[19]59' une seconde fois au dos (Salissures) Oil on canvas, signed and dated '[19]59' lower right, signed and dated '[19]59' again on the reverse 46 x 55 cm - 18 1/8 x 21 5/8 in. Nous remercions Monsieur Pierre Le Bihan, pour le compte de l'Association des amis de Macario Vitalis, pour l'aide apportée à la rédaction de cette notice. Provenance - Galerie Camille Renault, Puteaux - Collection particulière, France (acquis auprès de cette dernière puis par descendance)
Crucifixion signed and dated 1960 (lower right and verso) oil on canvas 13” x 9” (33 cm x 22 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot M acario Vitalis is a Filipino painter known for his impressionism and pointillism works. At a young age, he left his hometown of Ilocos in 1917 and went to the United States. There, Vitalis was an art student by day and an elevator boy by night. His determination to learn and his passion for the arts led him to France, where he worked in a restaurant that exhibits and sells his works. In France, he also met the Puteaux group of artists, an acquaintanceship that profoundly influenced his would-be distinct art style. Most of Vitalis’ early works, dating back to the 1930s, are characterized by the social conditions he witnessed in France, such as the events during the Great Depression and World War II. From the 1960s, he shifted his focus to painting landscapes and delving into religious themes. Crucifixion is a masterpiece from this period, bEarrings Vitalis’ signature style of dabbing his paintbrush on the canvas, skillfully blending vibrant colors in various tints and shades, and making expert use of every space, leaving no part of the canvas uncolored. (Jessica Magno)
Bouquet of Flowers signed (lower right) dated 1983 oil on canvas 24” x 14 1/2” (61 cm x 37 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE León Gallery, The Kingly Treasures Auction 2021, Makati City, 4 December 2021, Lot 94 WRITE UP Only in his early 20s, Macario Vitalis had already ventured overseas to further his art studies. He stayed in the United States for a few years, then went to France and stayed there for almost the rest of his life, only returning to the Philippines for a short while in his later years. He worked in a restaurant in France where his artworks were exhibited and sold. His years in France can be seen in his works, both in subject matter and in the manner in which he paints. Most of his early works are characterized by the social conditions he witnessed in France, such as the events during the Great Depression and World War II. After the war, he settled in the town of Plestin-les-Gréves, which became the subject of his subsequent paintings, for it offers a magnificent landscape. Vitalis adheres to post-impressionism, with blues and yellows dominating his palette, which can be seen in his 1983 painting, Bouquet of Flowers. Once closely examined, one can see that the artist did not use definite lines or shapes in this painting. Instead, it is a harmonious blend of paint dabs in various hues, tints, and shades to create an object and successfully bring it to life. (Jessica Magno)
MACARIO VITALIS (1898-1989) Paysage à la forteresse, 1959 Huile sur toile Signée et datée '[19]59' en bas à droite Signée et datée '[19]59' une seconde fois au dos (Salissures) Oil on canvas, signed and dated '[19]59' lower right, signed and dated '[19]59' again on the reverse 46 x 55 cm - 18 1/8 x 21 5/8 in. Nous remercions Monsieur Pierre Le Bihan, de l’Association des amis de Macario Vitalis, pour l'aide apportée à la rédaction de cette notice. Provenance - Galerie Camille Renault, Puteaux - Collection particulière, France (acquis auprès de cette dernière puis par descendance)
Houses by Creekside, Parisian Suburb signed and dated 1939 (lower right) oil on canvas 21 1/4" x 25 1/2" (54 cm x 65 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE: Private collection, Manila Macario Vitalis’s 1939 Houses by Creekside, Parisian Suburb embodies the contemporary Parisian art scene with which he found himself swept in. Arriving in Paris in 1926, Vitalis fell into the company of Puteaux’s “The Golden Section”, a group of Cubist artists who routinely meet at Camille Renault's Big Boy restaurant. This wave of fresh ideas invigorated Vitalis, leading to a career that bore the electric zeitgeist of pre-war Paris. Houses by Creekside, Parisian Suburb shows Vitalis’s fresher and more impressionistic style. Possibly painted on the spot, the work details a quaint street by the canals. It is almost devoid of human presence and as such the town itself becomes the main character of the painting – we take note of the water's clarity and the way it ripples under the soft sunlight. The tightly packed houses juxtapose the tranquil riverside, emphasizing the uniqueness and allure of this tiny town. A work that is reminiscent of the lively Parisian art scene of the time, Houses by Creekside, Parisian Suburb is Vitalis at the verge of greatness. He imbues this town with small eccentricities that make the scene come to life – it is not merely houses on a street but a lived-in structure with its own stories, histories, and dreams. (Hannah Valiente)
a.) Paysage de Bretagne b.) Plage des Curés signed and dated 1947 (lower right) oil on panel a) 10" x 16" (25 cm x 41 cm) a.) Paysage de Bretagne signed and dated 1947 (lower right) oil on panel 10" x 16" (25 cm x 41 cm) b.) Plage des Curés signed and dated 1947 (lower right) oil on panel 11" x 13 3/4" (28 cm x 35 cm) León Gallery wishes to thank Comité Vitalis for confirming the authenticity of this lot LITERATURE Tayag, Claude and Ofelia Gelvezon Tequi. Vintage Vitalis: Paintings and Drawings (1930 - 1965) [Exhibition Catalog]. Makati City: Alliance Française de Manille, 2011. Published on the occasion of the "Vintage Vitalis" exhibition at the Alliance Française de Manille's Total Gallery in 2011. Full-color illustration. EXHIBITED The Alliance Française de Manille's Total Gallery, Vintage Vitalis, Makati City, 1 - 31 March 2011 LITERATURE: Tayag, Claude and Ofelia Gelvezon Tequi. Vintage Vitalis: Paintings and Drawings (1930 - 1965) [Exhibition Catalog]. Makati City: Alliance Française de Manille, 2011. Published on the occasion of the "Vintage Vitalis" exhibition at the Alliance Française de Manille's Total Gallery in 2011. Full-color illustration. Charming Vistas of France’s La Bretagne From the Philippines’ Prime Post-Impressionist Liberation for Macario Vitalis in the 1940s has brought a sense of nostalgia into his works. Unfortunately incarcerated in 1941 during the Second World War (he was noted as an “enemy of the state” by the Axis powers for carrying a Filipino passport which was then allied with the US), Vitalis’ release in 1944 meant a return to the arts for which he has left the country in the first place. For the 1920s, Vitalis lived a double life – a worker by day and an art student by night, he first went to America in search of a good life before his artistic inclinations brought him to the heart of the art world in Paris in 1926. Paris for Vitalis in the 1930s meant an introduction to a whole slew of characters who will distinctly influence his career moving forward. His interactions with the Cubist group of Puteaux at the restaurant of Camille Renault became a fundamental turning point for Vitalis; he was exposed to the influential counterculture of the time. The townscapes he created in the thirties have slowly shed their academic tonalities. His works became more impressionist in the same vein as the Puteaux group’s and they show the beginnings of the landscapes shown with the lot in hand. These works, both created in 1947, were done three years after Vitalis’ release. The war’s end meant a proliferation of the influence of the New School of Paris. Paralleling the American Abstract Expressionism movement, this French movement drew from post-impressionism’s structuration and transformed it into a form of lyrical abstraction. Vitalis incorporated quick, fluid brush strokes into his landscapes, rendering the scenes both fleeting and cherished. Vitalis’ dexterity belies his constant desire for growth. Imbibing the zeitgeist, his works evolve with time, ensuring a truly unique experience that is grounded in the work’s milieu. The decade following the creation of these landscape pieces saw Vitalis engaging deeper into the Parisian art community and the foundations of the flourishing of his personal style are evident in these pieces. (Hannah Valiente)
Macario VITALIS (1898-1990) Untitled Oil on canvas Bearing a bull's head and numbered 165 on the back (marks of Camille Renault) 33 x 24 cm Provenance Former Camille Renault collection Sans titre Huile sur toile Portant une tête de taureau et numérotée 165 au dos (marques de Camille Renault) 33 x 24 cm Provenance Ancienne collection Camille Renault
PROPERTY FROM THE CAMILLE RENAULT COLLECTION Untitled (Mother and Child) signed and dated 1933 (lower right) pastel on paper 28 3/4” x 21 1/4” (73 cm x 53 cm) Accompanied by a certificate issued by Ofelia Gelvezon-Tequi and Claude Tayag confirming the authenticity of this lot
PROPERTY FROM THE CAMILLE RENAULT COLLECTION Portrait of a Man signed and dated 1937 (lower right) tempera on paper 15 1/2” x 12 1/2” (39 cm x 30 cm) Accompanied by a certificate issued by Ofelia Gelvezon-Tequi and Claude Tayag confirming the authenticity of this lot PROVENANCE Ader Nordmann & Dominique
PROPERTY FROM THE LOURDES VITALIS BLANCAFLOR COLLECTION a.) Playtime signed and dated 1988 (lower right) oil on wood 7 1/2" x 7" (19 cm x 18 cm) b.) Untitled signed and dated 1988 (lower right) oil on wood 7" x 8 1/4" (18 cm x 21 cm)
PROPERTY FROM THE LOURDES VITALIS BLANCAFLOR COLLECTION Iligan Reminiscence signed and dated 1989 (lower right) watercolor on paper 21 1/2" x 28 3/4" (55 cm x 73 cm)
PROPERTY FROM THE LOURDES VITALIS BLANCAFLOR COLLECTION Britanny Landscape I signed and dated 1986 (lower right) oil on canvas 15" x 23 1/2" (38 cm x 60 cm)
Last Supper (La Cene ) signed (lower right and verso) dated 1962 oil on canvas 13" x 39 1/4" (33 cm x 100 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot WRITE UP: Macario Vitalis' encounter with Cubism began when he became acquainted with the Groupe de Puteaux (Section d'Or), proponents of Orphic Cubism that met regularly at 'Big Boy,' a theaterrestaurant owned by Camille Renault located at 60 Avenue de la République in Puteaux, France. 'Big Boy,' named after Renault's physique, was a melting pot of different artists practicing different styles. It was also there that Vitalis had settled around 1936-37, a decade after he established residency in Montmartre, the heart and soul of the arts in Paris. Around 1940, Vitalis would meet the Orphic Cubist Gaston Duchamp, also known as Jacques Villon, elder brother to the creative avant-garde Marcel Duchamp. During this time, Vitalis' artistic style still echoed the practice of the post-impressionists with his strong expressive sensibilities resulting from the distortion of forms and the employment of arbitrary colors. Villon would have a profound influence on Vitalis' art. But in July 1941, at the height of the Second World War, Vitalis was arrested by the Germans on grounds of his American citizenship, an unfortunate situation at that time since the Philippines was a Commonwealth of the United States. Vitalis would be imprisoned in a German camp in Compiègne, Northern France. Dispirited, Vitalis' artistic evolution was hampered, although he still painted, mainly portraits, while incarcerated. Vitalis would only be released from imprisonment in 1944. Feeling a renewed sense of freedom, both personally and creatively, Vitalis reunited with Villon and his friends at the Section d'Or. Vitalis would now embrace his Cubist identity and cast away his Post-Impressionist skin. By the 1960s, Vitalis, who had now settled at Plestinles-Grèves in the Brittany region of northwestern France (he first visited it in the summer of 1946 and would regularly make sojourns until 1957 when he settled there permanently), had again developed his style from Cubism to a cubist-impressionist amalgamation. This yet another artistic evolution in Vitalis had likely been reinforced by the breathtaking views of Plestin-les-Grèves and the Brittany region in general, in which an expressive coastline marked by towering rock formations are gently caressed by the resonating waves of the North Atlantic, offering an unfathomable ocean of creative stimulation for artist-subject relations. (This is in addition to the enduring influence of Villon, who wedded Cubism and Impressionism through his use of a luminous palette.) La Cene belongs to this period in Vitalis' career, known as his "Plestin Period." An almost purely abstract image of the iconic Last Supper, La Cene is glaringly characterized by its luminous colors (interestingly, the Last Supper is also the Fifth Luminous Mystery of the Holy Rosary). This contrasts with Cubism's—especially its analytical phase— embrace of a somber, almost monochromatic palette. This luminosity in Vitalis' work harks back to the works of the Impressionists. Following Villon's artistic maxim of "reducing everything to the absolute," La Cene preserves the geometric fragmentation of Cubism but retains color as an integral part of the composition, enhancing the work's linear structure and the expressive interplay between its planar forms and rhythmic framework. Much like Orpheus, the deity from which Orphic Cubism got its name, the vividness of the composition shrouds the subject in lyrical mysticality, befitting its religious theme. (Adrian Maranan)
Paysage signed and dated 1944 (verso) oil on canvas 20 1/2" x 40 1/2" (52 cm x 103 cm) PROVENANCE Private collection, Europe WRITE UP: Macario Vitalis’s plight during the Second World War is an unfortunate one – born in Ilocos Sur, Vitalis left the country for San Francisco where he studied at the California School of Fine Arts. He had with him a Commonwealth of the Philippines, USA passport, allowing him entry to the US and later to Europe, where he stayed briefly in London before eventually settling in France. However, it was this US passport that led to his incarceration in 1941. The Second World War had set its stage on European and Asian soil and when the Germans marched through France in 1940, Vitalis was noted as an “enemy of the state” due to his unfortunate passport (the Philippines at the time was a Commonwealth of the United States) and in July 1941 was brought to Stalag 23 in Compiègne. Here he stayed for three years where he painted and drew scenes he saw in the camp before he was released in 1944. The lot at hand Paysage was created in the year he was released. Following his incarceration, he returned to the western suburbs of Paris called Puteaux where he had settled prior to the war. It was here where he became acquainted with Camille Renault who owned the theater-restaurant “Big Boy” and with him came the Puteaux Group, a collective of artists associated with Cubism and Orphism who gave Vitalis his first encounter with Cubism. Paysage, meaning “landscape” in French, is a Cubist depiction of a sprawling urban city. He uses bright luminous colors, using them less as an accurate depiction and more as an intuitive representation. The result is a vibrant piece that features yellow skies, violet roofs, and green shadows. With his extensive knowledge of cubist impressionism, Vitalis executes his vision elegantly with his dynamic color palette, expressive composition, and refined interplay of space and planes. (Hannah Valiente)
Untitled signed (verso) oil on canvas 24" x 18" (61 cm x 46 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot
Untitled signed and dated 1965 (lower right and verso) oil on canvas 12" x 29 1/2" (30 cm x 75 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot
L’orchestre signed and dated 1974 (lower right and verso) oil on canvas 24” x 32” (61 cm x 81 cm) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot WRITE UPMacario Vitalis was a painter who specialized in postimpressionism art style. In contrast to its historical predecessor – impressionism, which aims to accurately depict landscapes of everyday surroundings from the last detail – post-impressionism has a more liberal approach in the application of colors and is not bound by the chains of realistic depictions of the world. Vitalis was born in Lapog, Ilocos Sur in 1896. Due to economic hardships, he left the Philippines during his early adulthood in 1917 and migrated to the United States. He attended a local art school in San Francisco and honed his skills by day while also tended to his financial needs by working menial work by night. In 1926, Vitalis sought greener pastures in France and gradually began to make a name for himself by establishing his studio. It was during his stay in France when he began to pursue post-impressionism and even met prominent European painters such as Pablo Picasso. Almost four decades later, in 1963, he returned to the Philippines and his paintings became a nationwide sensation, being disseminated in multiple prominent institutions. He would continue his career as a painter until his death in 1990.
Bridge at the Bottom of a Breton Valley signed (verso) ca. 1956 oil on canvas 26” x 32” (65 cm x 81 cm) This painting was confirmed by "Les amis de Vitalis" (Friends of Vitalis) Accompanied by a certificate issued by Comité Vitalis confirming the authenticity of this lot PROVENANCE: Private collection, France WRITE UPMacario Vitalis was a painter who specialized in post-impressionism art style. In contrast to its historical predecessor – impressionism, which aims to accurately depict landscapes of everyday surroundings from the last detail – post-impressionism has a more liberal approach in the application of colors and is not bound by the chains of realistic depictions of the world. Vitalis was born in Lapog, Ilocos Sur in 1896. Due to economic hardships, he left the Philippines during his early adulthood in 1917 and migrated to the United States. He attended a local art school in San Francisco and honed his skills by day while also tended to his financial needs by working menial work by night. In 1926, Vitalis sought greener pastures in France and gradually began to make a name for himself by establishing his studio. It was during his stay in France when he began to pursue post-impressionism and even met prominent European painters such as Pablo Picasso. Almost four decades later, in 1963, he returned to the Philippines and his paintings became a nationwide sensation, being disseminated in multiple prominent institutions. He would continue his career as a painter until his death in 1990.
