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Fernando Zóbel Sold at Auction Prices

Painter, b. 1924 - d. 1984

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            • Fernando Zóbel. Basin
              Feb. 21, 2024

              Fernando Zóbel. Basin

              Est: -

              Monotype and watercolor on paper. Signed in the lower right corner. Dated [June 24, 1976] and located [Cuenca] in the lower left corner. Provenance: - Private collection.

              Duran Arte y Subastas
            • FERNANDO ZÓBEL - Ornithopter (no. 545)
              Feb. 06, 2024

              FERNANDO ZÓBEL - Ornithopter (no. 545)

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Ornithopter (no. 545). 1962 Offset-Lithograph on Geler Guarro paper Signed in pencil and dedicated Edition R (after) Measurements 70 x 82.5 cm ORIGIN Artist's Workshop , Cuenca Private collection

              Subastas Segre
            • FERNANDO ZÓBEL - Júcar XII
              Feb. 06, 2024

              FERNANDO ZÓBEL - Júcar XII

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Júcar XII. 1971 Offset-Lithograph on Arches paper Signed in pencil and dedicated Edition R (after) Measurements 34 x 40 cm ORIGIN Artist's Workshop, Cuenca br> Private collection

              Subastas Segre
            • FERNANDO ZÓBEL - Flower basket
              Feb. 06, 2024

              FERNANDO ZÓBEL - Flower basket

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Basket of flowers. 1961 Ink on paper Signed, dedicated and dated August 30, 1961 Measurements 15.5 x 13.5 cm

              Subastas Segre
            • Fernando Zobel. The Toy Drum
              Jan. 24, 2024

              Fernando Zobel. The Toy Drum

              Est: -

              Watercolor on paper. Signed, titled and dated (1981) in the lower left corner. [Seville; May Crosses. Serpes. May 19, 1981; dusk The Toy Drum] Origin: - The Luz Gallery, Philippines. - Private collection. With adhesive marks on the back.

              Duran Arte y Subastas
            • Fernando Zóbel. Gestures XXIX-Climbing
              Jan. 24, 2024

              Fernando Zóbel. Gestures XXIX-Climbing

              Est: -

              Oil on canvas. Signed in the lower left corner. On the back, signed with a monogram, titled and with inscription (79-10). Painted in Madrid. In this period Zóbel made his most refined and mystical painting with firm and vertical strokes inspired by El Greco's celadons. Work that is offered for the first time on the market after its acquisition from the artist by the current owners. Bibliography: - DE LA TORRE, Alfonso: Fernando Zóbel Catalog Raisonné of Paintings 1946-1984. Azcona Foundation. Madrid, 2022. Page 588. S/IL. Cat. No.: 79-10.

              Duran Arte y Subastas
            • FERNANDO ZoBEL DE AYALA Manila, Philippines (1924) / Rome, Italy (1984) "Noviembre III"
              Jan. 23, 2024

              FERNANDO ZoBEL DE AYALA Manila, Philippines (1924) / Rome, Italy (1984) "Noviembre III"

              Est: €127,500 - €170,000

              "November III", 1978 Oil on canvas Signed in front, in the lower right corner. On the back on the canvas: "78-94 NOVEMBER III" Bibliography: De la Torre, A. (Director), in collaboration with Perez-Madero, R., Catalog Raisonne of Paintings by Fernando Zobel. Madrid-Manila: Azcona Foundation, Juan March Foundation, Ayala Foundation and Heirs of Fernando Zobel, 2023. Cat. 78-94, referred to on p. 585. Registered in the artist's historical archive. We thank Don Alfonso de la Torre for his help in cataloging this work. Measurements: 100 x 80 cm

              Ansorena
            • FERNANDO ZoBEL DE AYALA Manila, Philippines (1924) / Rome, Italy (1984) "Sketch for the painting Arzhaez"
              Jan. 23, 2024

              FERNANDO ZoBEL DE AYALA Manila, Philippines (1924) / Rome, Italy (1984) "Sketch for the painting Arzhaez"

              Est: €18,000 - €24,000

              "Sketch for the painting Arzhaez", 1959 Chinese ink on cardboard Signed and dated "March 10/59" in the lower left corner Reference bibliography: -From la Torre, Alfonso (Director) in collaboration with Perez-Madero, R., Catalog Raisonne of Paintings by Fernando Zobel. Madrid-Manila: Azcona Foundation, Juan March Foundation, Ayala Foundation and Heirs of Fernando Zobel, 2023. Cat. 59-32(273), ill. cabbage. p. 167. We thank Don Alfonso de la Torre for his help in cataloging this work. Measurements: 21.5 x 27.5 cm

              Ansorena
            • Fernando Zóbel (1924 - 1984)
              Jan. 21, 2024

              Fernando Zóbel (1924 - 1984)

              Est: ₱20,000 - ₱26,000

              Carroza Signed and dedicated to Don Beniting (Benito Legarda) serigraph 21 1/4" x 15 1/2" (54 cm x 39 cm)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Jan. 20, 2024

              Fernando Zóbel (1924 - 1984)

              Est: ₱15,000 - ₱19,500

              Pais Ajillo ca.1970 handsigned and numbered lithograph 61/100 8” x 7 1/2” (20 cm x 19 cm)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Jan. 20, 2024

              Fernando Zóbel (1924 - 1984)

              Est: ₱20,000 - ₱26,000

              Untitled signed (lower right) etching 6" x 8 1/4" (15 cm x 21 cm) PROVENANCE A gift from the artist to the former owner Enrique Velasco

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Jan. 20, 2024

              Fernando Zóbel (1924 - 1984)

              Est: ₱100,000 - ₱130,000

              Untitled signed and dated 1968 (lower right) pen and ink on paper 10 1/2" x 8" (27 cm x 20 cm) PROVENANCE A gift from the artist to the former owner Enrique Velasco

              Leon Gallery
            • Fernando Zóbel. Star Field
              Dec. 27, 2023

              Fernando Zóbel. Star Field

              Est: -

              Screen printing on Guarro paper. Signed with the artist's anagram in the lower right corner. Numbered (32/115) in the lower left corner. Belonging to the book Campo de Estrellas, edited by Antojos (Antonio Pérez) in 1983. Bibliography: - PÉREZ-MADERO, Rafael.: Zóbel. Complete graphic work. Provincial Council of Cuenca. Cuenca, 1999. Pages. 242-245. Rep. Col.

              Duran Arte y Subastas
            • Fernando Zóbel. Star Field
              Dec. 27, 2023

              Fernando Zóbel. Star Field

              Est: -

              Screen printing on Guarro paper. Signed with the artist's anagram in the lower right corner. Numbered (32/115) in the lower left corner. Belonging to the book Campo de Estrellas, edited by Antojos (Antonio Pérez) in 1983. Bibliography: - PÉREZ-MADERO, Rafael.: Zóbel. Complete graphic work. Provincial Council of Cuenca. Cuenca, 1999. Pages. 242-245. Rep. Col.

              Duran Arte y Subastas
            • FERNANDO ZÓBEL Manila 1924-Rome 1984 Field of Stars. 1983 Case containing 12 ser
              Dec. 12, 2023

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Field of Stars. 1983 Case containing 12 ser

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Field of Stars. 1983 Case containing 12 serigraphs by the artist on paper, all of them signed in pencil and numbered 110/115. Accompanied by a poem by José Luis Jover on Guarro paper. Signed in pencil by the artist and the poet in the Justification of the edition and numbered 110/115. Edit Antojos, Cuenca 1983 Measurements 32 x 22.5 cm (each screen print); 33.5 x 23.5 x 3 cm (case) BIBLIOGRAPHY Rafael Pérez-Madero, "Zóbel. Complete Graphic Work", Provincial Council of Cuenca 1999

              Subastas Segre
            • FERNANDO ZÓBEL Manila 1924-Rome 1984 Rafita. 1978 Silkscreen on paper Signe
              Dec. 12, 2023

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Rafita. 1978 Silkscreen on paper Signe

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Rafita. 1978 Silkscreen on paper Signed in pencil P/A (Artist's Proof) Measurements 83 x 70.2 cm Edita Museo de Arte Abstracto Español, Cuenca 1978 < br> BIBLIOGRAPHY Rafael Pérez-Madero, "Zóbel. Complete Graphic Work", Provincial Council of Cuenca 1999, no. 188. Page 201

              Subastas Segre
            • FERNANDO ZÓBEL Manila 1924-Rome 1984 From the Rana Verde Restaurant. 1983 Waterc
              Dec. 12, 2023

              FERNANDO ZÓBEL Manila 1924-Rome 1984 From the Rana Verde Restaurant. 1983 Waterc

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 From the Rana Verde Restaurant. 1983 Watercolor, ink and pencil on paper Signed, dedicated and dated November 14, 1984 Measurements 19 x 28 cm

              Subastas Segre
            • FERNANDO ZÓBEL Manila 1924-Rome 1984 Fragment 5. 1983 Oil on canvas Signed
              Dec. 12, 2023

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Fragment 5. 1983 Oil on canvas Signed

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Fragment 5. 1983 Oil on canvas Signed Back signed, titled and dated "FR 83-1" Measurements 40 x 40 cm BIBLIOGRAPHY Rafael Pérez Madero and Alfonso de la Torre, "Fernando Zóbel: catalog raisonné of paintings 1946-1984", Ed. Fundación Azcona; Georgina and Alejandro Padilla Zóbel; Ayala Foundation and Juan Marcha Foundation, Madrid-Philippines 2022, p. 648, No. FR-83-5

              Subastas Segre
            • FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984). "Study for a green monument from the Aranjuez series, 1977. Ink on Fabriano paper. Attached certificate of authenticity issued by Don Rafael Pérez Madero in 2016.
              Dec. 12, 2023

              FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984). "Study for a green monument from the Aranjuez series, 1977. Ink on Fabriano paper. Attached certificate of authenticity issued by Don Rafael Pérez Madero in 2016.

              Est: €2,500 - €3,000

              FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984). "Study for a green monument from the Aranjuez series, 1977. Ink on Fabriano paper. Attached certificate of authenticity issued by Don Rafael Pérez Madero in 2016. Signed, dated and titled in the lower right corner. Measurements: 33 x 23,5 cm; 53 x 43 cm (frame). This work is accompanied by a certificate issued by Don Rafael Pérez-Madero, Fernando Zóbel's personal secretary and one of the greatest experts on the founder's work. Historian, patron of the arts, university professor and collector are some of the adjectives corresponding to the figure of Fernando Zóbel, one of the most outstanding painters of the 20th century in Spain. The training and cultivation of his personality never ceased to develop, with his love of books standing out. He studied Medicine in the Philippines and graduated in Philosophy and Arts at Harvard University in the United States, and it was at this time that he became interested and involved in the world of painting, influenced by the Boston School, whose palette showed almost pure colours framed by a very marked drawing. Thus, in 1951 he took up the chair of Fine Arts at the Ateneo de Manila. Zóbel's evolution and need to develop a personal artistic language led him to explore the world of abstraction influenced by Rothko, or the expressionism of Pollock or de Kooning, working on very valid non-figurative proposals. To this, it is necessary to add the great influence and interest he felt towards oriental cultures, and this desire was heightened by his participation in a Chinese archaeological excavation discovered on the Philippine peninsula of Calatagan. As was said, Zóbel's work draws from the East, so much so that it is oriental calligraphy that gives rise to the presence of sinuous lines of great elegance, which can be seen in the work in question, in which the meticulous and thoughtful preliminary work can be appreciated. There is nothing left to chance in his apparently spontaneous paintings; they all contain a period of prior reflection and execution, because, as he said: "my process is the process of sketch, drawing, sketch and painting", a planning that gives rise to perfect scenographies formed by movement, lines, speed, space and light. His work is represented in important museums such as the Museo de Arte Contemporáneo Español in Valladolid, the Museum of Fine Arts in Boston, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Brooklyn Museum of Art in New York, the Joslyn Art Museum in Omaha (Nebraska), the Hispanic Society of America, as well as in collections such as Chase Manhattan Bank, the AENA Art Collection of Contemporary Art in Madrid, and the Banco Urquijo in Barcelona.

              Setdart Auction House
            • FERNANDO ZÓBEL (Manila, Philippines, 1924 – Rome, Italy, 1984). No title. Ink on paper. Attached is a certificate of authenticity issued by Don Rafael Pérez Madero in 2016. Signed in the lower right corner.
              Dec. 12, 2023

              FERNANDO ZÓBEL (Manila, Philippines, 1924 – Rome, Italy, 1984). No title. Ink on paper. Attached is a certificate of authenticity issued by Don Rafael Pérez Madero in 2016. Signed in the lower right corner.

              Est: €1,800 - €2,000

              FERNANDO ZÓBEL (Manila, Philippines, 1924 - Rome, Italy, 1984). Untitled. Ink on paper. Attached certificate of authenticity issued by Don Rafael Pérez Madero in 2016. Signed in the lower right corner. Size: 28,5 x 25,5 cm; 33 x 33 cm (frame). This work is accompanied by a certificate issued by Don Rafael Pérez-Madero, Fernando Zóbel's personal secretary and one of the greatest experts on the founder's work. Historian, patron of the arts, university professor and collector are some of the adjectives corresponding to the figure of Fernando Zóbel, one of the most outstanding painters of the 20th century in Spain. The training and cultivation of his personality never ceased to develop, with his love of books standing out. He studied Medicine in the Philippines and graduated in Philosophy and Arts at Harvard University in the United States, and it was at this time that he became interested and involved in the world of painting, influenced by the Boston School, whose palette showed almost pure colours framed by a very marked drawing. Thus, in 1951 he took up the chair of Fine Arts at the Ateneo de Manila. Zóbel's evolution and need to develop a personal artistic language led him to explore the world of abstraction influenced by Rothko, or the expressionism of Pollock or de Kooning, working on very valid non-figurative proposals. To this, it is necessary to add the great influence and interest he felt towards oriental cultures, and this desire was heightened by his participation in a Chinese archaeological excavation discovered on the Philippine peninsula of Calatagan. As was said, Zóbel's work draws from the East, so much so that it is oriental calligraphy that gives rise to the presence of sinuous lines of great elegance, which can be seen in the work in question, in which the meticulous and thoughtful preliminary work can be appreciated. There is nothing left to chance in his apparently spontaneous paintings; they all contain a period of prior reflection and execution, because, as he said: "my process is the process of sketch, drawing, sketch and painting", a planning that gives rise to perfect scenographies formed by movement, lines, speed, space and light. His work is represented in important museums such as the Museo de Arte Contemporáneo Español in Valladolid, the Museum of Fine Arts in Boston, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Brooklyn Museum of Art in New York, the Joslyn Art Museum in Omaha (Nebraska), the Hispanic Society of America, as well as in collections such as Chase Manhattan Bank, the AENA Art Collection of Contemporary Art in Madrid, and the Banco Urquijo in Barcelona.

              Setdart Auction House
            • Morcuera
              Dec. 06, 2023

              Morcuera

              Est: €180,000 - €250,000

              Fernando Zóbel 1924 - 1984 Morcuera signed; signed, titled, dated Oct 1961 and numbered #448 on the reverse oil on canvas 50 x 70 cm; 19 ¾ x 27 ½ in. Executed in 1961. _______________________________________________________________ Fernando Zóbel 1924 - 1984 Morcuera signé; signé, titré, daté Oct 1961 and numéroté #448 au dos huile sur toile 50 x 70 cm; 19 ¾ x 27 ½ in. Exécuté en 1961.

              Sotheby's
            • Fernando Zóbel (1924 - 1984) - Study of Cafetera Exprés (II)
              Dec. 02, 2023

              Fernando Zóbel (1924 - 1984) - Study of Cafetera Exprés (II)

              Est: ₱2,400,000 - ₱3,120,000

              Study of Cafetera Exprés (II) signed (upper right) ca. 1954 gouache / graphite 16” x 13” (41 cm x 33 cm) León Gallery wishes to thank Georgina Padilla Zobel for confirming the authenticity of this lot PROVENANCE: Sur Galeria de Arte y Liberia, Santander WRITE UPBy 1954, almost three years after returning to Manila from Harvard, Fernando Zóbel had earned that rightful spot in the burgeoning Philippine art scene of the post-war period. He had been elected President of the influential Art Association of the Philippines (AAP). Zóbel had also just won the coveted first prize for his now-iconic painting Carroza at the AAP’s semi-annual painting competition. In 1953, Zóbel mounted his debut solo exhibition at the storied Philippine Art Gallery (PAG), where he showcased “a series of works in which he abandons his Bostonian symbolic and romantic themes for Philippine themes revolving around local customs and manners. Here, he addresses intimate, street themes on the one hand and religious themes on the other,” writes his biographer Angeles Villalba Salvador. Salvador continues, “Generally speaking, the works are conceived as surfaces filling up with flat, vivid colors where, at times, traditional perspective completely disappears and, at others, highly subtle spatial references combine with two-dimensional spaces and figures. Matisse’s influence is of significance in these figurative works, which are characterized by a glossy texture where thick, black strokes prefiguring the gestural content of later works are sometimes superposed on the masses of color.” The Filipino theme would carry over to Zóbel’s second solo exhibition, 12 paintings by Fernando Zóbel at the Contemporary Arts Gallery in Manila. Sponsored by the AAP, the show was a critical success, with both the public and the critics warmly receiving the exhibition and hailing Zóbel “as being at the forefront of the current of renewal in Philippine art,” as Villalba Salvador notes. One of the works that were exhibited in the show was titled Cafetera Exprés (II), painted in Manila and is now in the collection of the Cultural Center of the Philippines. A rare and vivid study of that painting, done in gouache, is present in the work at hand. Zóbel’s entire artistic career is one characterized by a relentless search for artistic identity, one of constant reinvention and transformation. As Manila was a city rising from the ashes of war, so was Zóbel, who aligned himself with the Neo-Realists who captured a new image of a post-war nation, away from the overt sentimentality and sweetness of the Amorsolo tradition. (Zobel was close friends with the neo-realists, Luz, H.R. Ocampo, and Manansala, all of whom he met at the PAG.) Keeping in line with his artistic vision during this period, Zóbel immersed himself in the culture of his people; he was interested in their ways and means, their individuality. So much so that Zóbel even wrote articles concerning Filipino cultural expression and identity and the new generation: Pintura moderna en Filipinas, Art in the Philippines Today, and Filipino Artistic Expressions. Coupled with the search for a unique identity (both on the personal and cultural level) in the face of post-war reconstruction, Zóbel found a leading light in the person of the French painter Henri Matisse, who was a significant influence on Zóbel during the early 1950s. Zóbel saw Matisse’s heightened use of vivid colors as evocative of that recognizable Filipino sense of color: expressive and arresting. Yet, Zóbel also saw in Matisse’s employment of a flattened perspective, the use of less sophisticated shapes, and the outright rejection of visual conventions of the human form that breaking point with the traditional romantic-realist approach of the conservatives. We see in the Study of Cafetera Exprés (II) the profound influence of Matisse. The work possesses a flat, vertical rhythm emphasized by the interwoven lines representing the floors and the walls of the setting and Zóbel’s rendering of the human figure in a lengthened form. In essence, the work at hand expresses such a naïve sincerity that encapsulates a sheer divorce from the conservative style that once dominated Philippine painting in the pre-war years. Thus, the work is an insight into the earnest cultural and artistic genius of a man whose 100th birth anniversary we will be celebrating on August 27, 1924. (Adrian Maranan)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - Estudio VI
              Dec. 02, 2023

              Fernando Zóbel (1924 - 1984) - Estudio VI

              Est: ₱200,000 - ₱260,000

              PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Estudio VI signed and dated 1966 (lower left and right) ink on paper 9 1/2” x 14 3/4” (24 cm x 37 cm) WRITE UPThis particular sketch is a rare, interesting insight into the beginnings of Fernando Zobel's Dialogos series, which he described in a 1978 interview for El Imparcial (Madrid) as "to speak of art with art. When "I speak" in these dialogues, I concentrate on one facet, and the result is not an imitation but a comment." In the Dialogos, Zobel converses with the old masters and their masterpieces he saw at the numerous museums he visited. By “conversing with the old masters,” it meant Zobel studying their creative process and the various elements integral to their praxis, and “analyses, interprets, disarranges and rearranges so as to build in his own way (light, movement, color, gesture, intention),” as his biographer Angeles Villalba Salvador puts it. In the work at hand, Zobel engages in a sublime dialogue with the 16th-century Venetian painter Tintoretto through the latter's masterpiece The Washing of the Feet (1548-49), based on the scene right after the Last Supper in which Jesus washes his disciples’ feet. It has been on display at Madrid's Museo del Prado since 1936. As seen in this sketch, Zobel studies the visual concept of perspective, a technique Tintoretto fiddled with in his painting. (Tintoretto intended The Washing of the Feet to be viewed at its right side, as it was originally hung on the right wall of the presbytery of the San Marcuola Church in Venice.) Zobel visited the Prado Museum many times throughout 1962. Villalba Salvador writes: "His visits to the Prado are constant…unfailingly carries his notebook with him so as to study and analyze the paintings of the past with his pen." Zobel himself had said in 1962: "Drawing the pictures is a way of seeing them. It cleanses the soul and leaves the most unexpected things in the subconscious." From these Prado excursions and Zobel's interview, one could easily understand how Zobel had come across Tintoretto and eventually made him one of the central characters in his Dialogos. Zobel inscribed in his handwriting that he did this sketch on August 14, 1966. He would produce a finished oil on canvas painting on August 19, 1966: Dialogo IV con El Tintoretto. (Adrian Maranan

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - Recreo con Raya Roja
              Dec. 02, 2023

              Fernando Zóbel (1924 - 1984) - Recreo con Raya Roja

              Est: ₱6,000,000 - ₱7,800,000

              Recreo con Raya Roja signed (lower left); signed and inscribed ‘82-10 / Recreo con Raya Roja (verso) oil on canvas 27” x 35 3/4” (69 cm x 91 cm) PROVENANCE: Private collection, Spain EXHIBITED: Art Fair Philippines, The Internationalists: Zóbel / Joya, The Link, Ayala Center, Makati City, February 17 - 19, 2023 LITERATURE: De la Torre, Alfonso and Rafael Pérez-Madero. Fernando Zóbel: Catalogue Raisonné of Paintings (1946 - 1984). Madrid: Fundación Azcona, 2022. Listed as “no 82-10” with painting description on page 634. The Internationalists: Zóbel / Joya (Exhibition Catalog). Makati City: León Gallery, 2023. Published on the occassion of the exhibition of the same name at the Art Fair Philippines 2023. Full-color photograph and painting description on page 8. WRITE UPOn the eve of Fernando Zóbel’s 100th birth anniversary on August 27, 2024, León Gallery offers one of the artist’s last works, painted in his final decade before his untimely death on June 2, 1984. After his prolific 1970s, his golden age comprising the series El Júcar, La Vista, and the highly acclaimed Serie Blanca, Zóbel unfortunately welcomed the 1980s with affliction. In 1980, Zóbel returned to Manila after successive trips in the preceding year to London, New York, Boston, Singapore, and Berlin. Also, in 1979, Zóbel held a lecture titled De Kooning: expresionismo y color at the inauguration of the Willem de Kooning exhibition at Fundacion Juan March in Madrid. Zóbel’s biographer, Angeles Villalba Salvador, writes in the artist’s chronology: “In Manila, he becomes ill on account of a brain hemorrhage. Although he manages to recover, he continues to suffer from some of the effects.” However, Villalba Salvador also notes that “this year, despite problems with his health, he exhibits in several Spanish cities: Tenerife, Gerona, Pamplona, and Valencia.” Due to his fragile health, Zóbel, in December 1980, donated to Fundacion Juan March his own Museo de Arte Abstracto Español in Cuenca, whose collection had already amassed 700 works by that time, including 180 paintings and 16 sculptures. Villalba Salvador further notes: “On returning to Spain [in 1980], he sinks into a depression, which naturally also affects his painting. Drawing now loses its central role of previous stages to fuse completely with color. He also starts to use new materials, such as the pencil for drafts and pastel. “As a result of this depression, Zóbel destroys many of these pictures and devotes more time to photography, focusing once more on the River Júcar and its banks on the outskirts of Cuenca. These photographs are the starting point of his last series of paintings, Las orillas (Variaciones sobre un río) (1979-1982).” Zóbel found therapeutic solace in his beloved hometown of Cuenca and the sinuous trail of its majestic River Júcar that is the town’s lifeblood, making them the protagonist in many of his works throughout his final years. (Interestingly, even his apartment-cum-studio in Cuenca overlooked the mouth of the Júcar.) One of those works with Cuenca as the central character is Recreo con Raya Roja, which Zóbel painted in Madrid, around the time of his 1982 exhibition of his Las orillas at the Galería Theo, Madrid and at Sala Celini. The work’s subject is an allusion to two things: the Júcar River and the Recreo Peral, the latter of which the Spanish art and literary critic Juan Manuel Bonet describes in his essay Fernando Zóbel, Revisited as a “modest eatery near the river, surrounded by trees, and easily accessible downhill from the Plaza Mayor.” “There, on more than one occasion, I observed the joy that so filled Zóbel and radiated from him,” Bonet reminisces in writing. “He strove to understand himself as a painter of waterscapes and relied on the mechanisms of memory to figure out what would lead him to devote an entire series of paintings to the Júcar in its flow through Cuenca.” Recreo con Raya Roja is pervaded with varying shades of dark brown, likely representing the ebb and flow of the Júcar as seen from the Recreo Peral’s viewpoint. Colors are dynamically and instinctively applied, suggesting an invigorated Zóbel. “Recreo” also means “recreation,” and it is in the very act of painting that Zóbel had always found consolation, a reason for breathing, being, and existing. Recreo con Raya Roja inherently possesses the lyricism and poetic clarity that Zóbel exalted: painting as a sweet and perfect balsam that alleviated his physical pains and soothed his sublime creative soul. It can be remembered that in 1942, Zóbel suffered from a spinal problem and was taken to the National Orthopedic Hospital, where he started to paint. “For a whole year, I was bedridden. I had all the time in the world to think, and it was then that I started to consider the idea of becoming an artist,” said Zóbel in a March 24, 1972 interview with Armando Manalo in Manila. And towards the end of his earthly life, as the call of death became more imminent, Zóbel had again turned to painting as his saving grace. In all his life’s struggles, painting carried the torch of consolation. As Zóbel once said in 1974: “Painting for me is a way of seeing, feeling, learning, teaching, sharing, conversing, discovering, organizing... in a word: painting can be quite a complex and complete way of existing, or rather, of living.” (Adrian Maranan)

              Leon Gallery
            • FERNANDO ZÓBEL DE AYALA Y MONTOJO (Manila, Philippines, 1924 – Rome, Italy, 1984). “The shore.” Screen printing (offset) on paper. Signed on plate.
              Nov. 14, 2023

              FERNANDO ZÓBEL DE AYALA Y MONTOJO (Manila, Philippines, 1924 – Rome, Italy, 1984). “The shore.” Screen printing (offset) on paper. Signed on plate.

              Est: €250 - €350

              FERNANDO ZÓBEL DE AYALA Y MONTOJO (Manila, Philippines, 1924 - Rome, Italy, 1984). "La orilla". Silkscreen (offset) on paper. Signed in plate. Size: 40 x 30 cm (stain); 50 x 38 cm (paper). Also known as Fernando M. Zóbel, he was a Spanish Filipino painter, businessman, art collector and founder of the Museum of Abstract Art in Cuenca. Zóbel was born in Ermita, Manila in the Philippines, and was a member of the prominent and well-to-do Zóbel de Ayala family. It was his uncle who taught the young Fernando his first knowledge of art. Zóbel studied medicine at the University of Santo Tomás in Manila. In 1942, he suffered a spinal deficiency that forced him to stay in bed that year. To pass the time, he turned to painting. He studied at the University of Santo Tomas and then transferred to Harvard University in 1946 to pursue degrees in history and literature. He finally graduated in three years and wrote a thesis on the work of Federico García Lorca. Zóbel began painting during this period without formal training at Harvard. In the fall of 1946 he met Jim Pfeufer and his wife Reed Champion Pfeufer. Reed was a painter who was loosely related to the Boston School, and she became a mentor to the young artist. Zóbel graduated in 1949 magna cum laude. After completing his degree, he returned briefly to Harvard to study law, and then worked as a curator at the Houghton Library. He founded the Museum of Spanish Abstract Art at Casa Colgadas, in the city of Cuenca, Spain, in 1963. The museum was expanded in 1978, and in 1980 Zóbel donated his collection to the Fundación Juan March, which then incorporated it into its own collection.

              Setdart Auction House
            • Fernando Zobel. The Toy Drum
              Oct. 25, 2023

              Fernando Zobel. The Toy Drum

              Est: -

              Watercolor on paper. Signed, titled and dated (1981) in the lower left corner. [Seville; May Crosses. Serpes. May 19, 1981; dusk The Toy Drum] Origin: - The Luz Gallery, Philippines. - Private collection. With adhesive marks on the back.

              Duran Arte y Subastas
            • Fernando Zóbel. Palomares from the rocks
              Oct. 25, 2023

              Fernando Zóbel. Palomares from the rocks

              Est: -

              Watercolor and ink on paper. Signed, dedicated and dated [September 1979] in the lower left corner. Provenance: - Acquired from the author in 1979. - By descent to the current owners.

              Duran Arte y Subastas
            • Fernando Zóbel. Star Field
              Oct. 25, 2023

              Fernando Zóbel. Star Field

              Est: -

              Screen printing on Guarro paper. Signed with the artist's anagram in the lower right corner. Numbered (32/115) in the lower left corner. Belonging to the book Campo de Estrellas, edited by Antojos (Antonio Pérez) in 1983. Bibliography: - PÉREZ-MADERO, Rafael.: Zóbel. Complete graphic work. Provincial Council of Cuenca. Cuenca, 1999. Pages. 242-245. Rep. Col.

              Duran Arte y Subastas
            • Fernando Zóbel. Star Field
              Oct. 25, 2023

              Fernando Zóbel. Star Field

              Est: -

              Screen printing on Guarro paper. Signed with the artist's anagram in the lower right corner. Numbered (32/115) in the lower left corner. Belonging to the book Campo de Estrellas, edited by Antojos (Antonio Pérez) in 1983. Bibliography: - PÉREZ-MADERO, Rafael.: Zóbel. Complete graphic work. Provincial Council of Cuenca. Cuenca, 1999. Pages. 242-245. Rep. Col.

              Duran Arte y Subastas
            • FERNANDO ZÓBEL - Field of Stars
              Oct. 24, 2023

              FERNANDO ZÓBEL - Field of Stars

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Field of Stars. 1983 Silkscreen on paper Signed in pencil Numbered 32/115 Measurements 32 x 22.5 cm Edita Antojos, Cuenca 1983 BIBLIOGRAPHY Rafael Pérez -Madero, "Zóbel. Complete Graphic Work", Provincial Council of Cuenca 1999, no. 215. Page 243.

              Subastas Segre
            • Fernando Zóbel (1924 - 1984)
              Oct. 21, 2023

              Fernando Zóbel (1924 - 1984)

              Est: ₱100,000 - ₱130,000

              Studio De Turso Antiguo Madrid signed and dated 1975 ( lower right) watercolor on paper 5” x 6 1/2” (13 cm x 17 cm)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Oct. 21, 2023

              Fernando Zóbel (1924 - 1984)

              Est: ₱30,000 - ₱39,000

              Apunte del Puerto de Santa Maria handsigned (lower right) etching 9/10 paper size: 14 1/4” x 11 1/2” (36 cm x 29 cm) image size: 11 1/4” x 9 1/2” (29 cm x 24 cm)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Oct. 21, 2023

              Fernando Zóbel (1924 - 1984)

              Est: ₱15,000 - ₱19,500

              Untitled signed and dated (lower right) lithograph 15” x 11 1/2” (38 cm x 29 cm)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Oct. 21, 2023

              Fernando Zóbel (1924 - 1984)

              Est: ₱20,000 - ₱26,000

              Pais Ajillo ca.1970 handsigned and numbered lithograph 61/100 8” x 8” (20 cm x 20 cm)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984)
              Oct. 21, 2023

              Fernando Zóbel (1924 - 1984)

              Est: ₱20,000 - ₱26,000

              Carroza 1952 signed (lower right) serigraph 205/290 19 1/2” x 13 1/2” (50 cm x 34 cm)

              Leon Gallery
            • FERNANDO ZÓBEL - Cape Cod
              Sep. 19, 2023

              FERNANDO ZÓBEL - Cape Cod

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Cape Cod. 1978 Heliogravure completed by hand with colored pencils by the artist, on Segundo Santos paper Signed in pencil Numbered 60 /70 (all slightly different) Measurements 17.5 x 17.5 cm (print); 51 x 36.5 cm (paper) BIBLIOGRAPHY Rafael Pérez-Madero, "Zóbel. Complete Graphic Work", Provincial Council of Cuenca 1999. Page 192

              Subastas Segre
            • FERNANDO ZÓBEL - Reflection
              Sep. 19, 2023

              FERNANDO ZÓBEL - Reflection

              Est: -

              FERNANDO ZÓBEL Manila 1924-Rome 1984 Reflection. 1969 Oil on canvas Signed Back signed, titled and dated January 1969 Measurements 38.5 x 46.2 cm BIBLIOGRAPHY Alfonso de la Torre y Rafael Perez Madero, "Fernando Zóbel. Reasoned Catalog of Paintings 1946-1984", Ed. Fundación Azcona, Madrid 2022, page. 387, no. 69-6

              Subastas Segre
            • Fernando Zóbel (1924 - 1984) - Untitled
              Sep. 09, 2023

              Fernando Zóbel (1924 - 1984) - Untitled

              Est: ₱200,000 - ₱260,000

              Fernando Zóbel (1924 - 1984) Untitled signed (lower right) ca. 1960s serigraph on paper 12 1/4" x 11 3/4" (31 cm x 30 cm) Fernando Zóbel was a prominent Filipino-Spanish artist known for his notable contributions to modern art – among those was his works in serigraphy, also known as silk screen printing. His serigraphs exhibit a sense of movement and each one captures a moment of dynamic transformation. He used layering and overlapping of colors to create depth and texture in his prints, and his use of exciting and contrasting hues resulted in serigraphs that are visually engaging and thought-provoking. Zóbel's serigraph works have been exhibited both here and abroad, and his contributions to the medium have left an indelible mark on the art world. (Isabella Romarate)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - Untitled
              Sep. 09, 2023

              Fernando Zóbel (1924 - 1984) - Untitled

              Est: ₱200,000 - ₱260,000

              Fernando Zóbel (1924 - 1984) Untitled signed (lower right) ca. 1978 print 14 1/2” x 20 1/4” (37 cm x 51 cm) In “Sketchbooks” by Fernando Zobel, fellow artist Arturo Luz notes: “In a one-man show some time ago, Zobel exhibited what appeared to be paintings but were listed as paintings and drawings. For Zobel, painting and drawing are at once alike and different. A drawing can be large, colored, and finished. A painting may be small, colorless and simple". When Spanish and European critics mention specific Oriental or Filipino aspects within Zobel's art, they are referring to elements associated with the artist's early fascination with the Chinese language and brushwork. Through this lens, Zobel upheld the belief in the intrinsic beauty of a painting. The artwork he presents for contemplation emerges from an inner journey. The intention is to extract the individual experiences of these artists and filter them through his personal sensitivity. Through his work, a significant aspect of his character comes to light — his desire to strike a balance between a strongly rational inclination towards moderation on one side and a visually assertive instinct on the other. (Jed Daya)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - Jucar XIX
              Sep. 09, 2023

              Fernando Zóbel (1924 - 1984) - Jucar XIX

              Est: ₱5,000,000 - ₱6,500,000

              Fernando Zóbel (1924 - 1984) Jucar XIX signed (lower left and verso) dated 1972 oil on canvas 23 3/4" x 23 3/4" (60 cm x 60 cm) Cuenca was part and parcel of Fernando Zobel's creative praxis. His first encounter with the city happened in 1963, underlaid by his idea to establish a museum that would house his collection of paintings in his Madrid abode. After a failed search for a conducive place in Toledo, Zobel fortuitously found Cuenca. On October 4, 1963, Zobel wrote to his American friend, Paul Haldeman: "My big project is a Museum of Spanish Abstract Art in the city of Cuenca—two and a half hours from Madrid. In the renowned "Hanging Houses," which the kindhearted, forward-looking local corporation has let me rent for thirty years at something like 1.50 dollars per annum. How nice for everybody! I have a feeling it is going to turn into one of the loveliest small museums in the world. As I will be owner, director, curator, acquisitions committee, patron, board of trustees and dictator, I rather think I shall have a lovely time." In July 1963, Zobel established his residence at Cuenca. The city would inspire myriad landscape paintings that manifest Zobel's enigmatic yet sublime lyrical abstraction. "Once he has decided to set up the Museum of Abstract Art in Cuenca, his trips to this city are constant; for years, it will be on the road and in the city that he will find most of his themes for landscapes… Little by little, the city and its surrounding area take possession of the painter, and Cuenca fills his notebooks, his pictures, and also his writing," his biographer Angeles Villalba Salvador succinctly notes. Zobel's brainchild, the Museo de Arte Abstracto Español in Cuenca, would be formally established on June 30, 1966. Pervaded with much jubilation, Zobel would elevate Cuenca as the beautiful muse of many of his paintings. Two of these series now form part of Zobel's most coveted and highly imaginative and lyrical works: "El Júcar," or The River Júcar, and "La Vista," inspired by the view from the window in his Cuenca studio. In particular focus in this essay is the El Júcar series, to which the work at hand, titled Júcar XIX, belongs. The El Júcar was born from the 1971 works El lago (lake) and El estanque (pond), which were based on his notes on the lake located at Winchester College in Oxford, where he attended a lunch for the members of the Oriental Ceramic Society. Zobel would start working on the El Júcar in 1971 after carefully deliberating on a large-scale series of works looking into the river ecosystem. Zobel chose the Júcar River, which flows through the towns of Cuenca, Alcala del Jucar, Cofrentes, Alzira, Sueca, and Cullera. As such, Cuenca's essence and landscapes took center stage. Zobel's enthrallment at the sinuous paths of the Júcar and his marvel at the sight of his beloved Cuenca is evoked in the ethereal quality of Jucar XIX. We see in the range of colors, from the siennas to dark browns and even the greys, the ebb and flow of the waters of the Júcar. In an interview in El Pais on March 3, 1982, Zobel shared glimpses of how the varying "colors" of the Júcar are reflected in his paintings of the river. "I have often worked with issues of color, but always in the abstract," Zobel says: "Actually, the starting point is the extremely unusual Júcar River as it flows through Cuenca, where it displays an array of colors the likes of which I have not seen elsewhere." One of the windows on the other side of Zobel's apartment-cum-studio in Cuenca overlooked the mouth of the Júcar. The Júcar passes through the heart of Cuenca, and so the river was enshrined in perpetuity in Zobel's psyche. Once again, Zobel gives prominence to the importance of one's memory and recollections, reveling in the power of lived experiences in rendering works that palpably provide a window into his consciousness and subconsciousness and the power of profound introspection, resulting in pieces that wallow in poetic elegance. (Adrian Maranan)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - Estudio
              Sep. 09, 2023

              Fernando Zóbel (1924 - 1984) - Estudio

              Est: ₱4,000,000 - ₱5,200,000

              Fernando Zóbel (1924 - 1984) Estudio signed (lower right and verso) dated 1967 oil on canvas 15" x 19" (38 cm x 48 cm) The monochromatic works of Fernando Zobel that dominated the early to mid 60s are often seen as the most recognizable aspects of his artistic career. But one can argue that his gradual shift and introduction of color was just as pivotal. Fast forward to the emergence of the 1968 period, Zobel's artistic endeavors ventured beyond the superficial exploration of visual elements. During this era, his focus extended beyond the mere appearance of objects, delving into the intricate interplay between art and culture. This marked a pivotal juncture in his career, where he grappled with the societal nuances that underlie artistic expression. His artistic transition mirrored the prevailing artistic trends of the late 60s, characterized by geometric and hard-edged forms that echoed the intensity of the era's artistic zeitgeist. Zobel's exploration of memory and nostalgia became a defining thread in his artistic tapestry. He recognized the power of selective memory, where certain visual phenomena stand out as the primary anchors of remembrance. By integrating this notion into his artistic philosophy, he reimagined his subjects through a filter of recollection, inviting viewers to engage with his works on a deeply personal and evocative level. The pivotal transition in Zobel's practice, marked by his foray into exploring memory, was more than a shift in technique—it was a transformative moment for abstract art itself. The conventional disinterestedness that often characterizes abstraction yielded to a fresh and introspective exploration of sentiment and personal history. Zobel's deliberate departure from established norms opened up a new realm of possibilities, where the canvas became a vehicle for introspection and reverie. Notably, Zobel's journey also led him to revisit the realm of color experimentation. Departing from the monochromatic palette of his earlier Serie Negra, he reintroduced a vivid spectrum of siennas, dark browns, ochres, and grays. This chromatic shift breathed new life into his work, infusing it with a sense of dynamism and vibrancy that complemented his evolving artistic philosophy. (Jed Daya)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - Bernard Childs Pintado Mi Retrato en su Estudio de París
              Sep. 09, 2023

              Fernando Zóbel (1924 - 1984) - Bernard Childs Pintado Mi Retrato en su Estudio de París

              Est: ₱10,000,000 - ₱13,000,000

              Fernando Zóbel (1924 - 1984) Bernard Childs Pintado Mi Retrato en su Estudio de París signed (lower right and verso) dated 1967 oil on canvas 39 1/2" x 39 1/2" (100 cm x 100 cm) This piece encapsulates the friendship between Fernando Zobel and Bernard Childs, the American painter, printmaker, and pioneer of engraving metal plates using industrial tools. Zobel's biographer, Angeles Villalba Salvador, writes, "Childs is the friend to influence him the most." While he had previously ventured into engraving beginning in his Harvard days, Zobel learned from Childs the "secrets and problems of inks, plates, papers, etc." Childs mentored Zobel in engraving, as evidenced by their frequent exchanges of letters. Zobel even visited Childs in October 1962 in his Paris studio, where the eminent engraver gave private sessions to him and companion artists Antonio Lorenzo and Gerardo Rueda. In his personal notes in Madrid in 1962, Zobel writes of his admiration towards Childs. "The time Bernard spends from inking the plate to finally passing it through the screw press is two and a half hours. He wastes no movements," Zobel recalls. "...There is nothing more pleasurable than watching somebody do something he knows how to do really well. When inking a plate, Bernard uses his head more than most of the painters that I know use theirs when they're painting a picture..." Zobel painted the work at hand during one of his visits to Childs and his family in Paris in 1967. Childs was simultaneously working on Zobel's portrait—a memory he immortalized on this canvas. We see in this piece glimpses of Child working in his Parisian studio, interpreted through Zobel's own vision of lyrical abstraction that is Delphic yet meditative and shows his keen observation and understanding of art's diversity and the world around him. In Zobel's sketchbook, we can even see Zobel's creative process; how he rendered Child painting his portrait. We see in the spectral-like whites Child's bodily contours and him in the act of painting. The sharp lines forming a rectangle with the blots of dark browns and siennas represent Child's canvas mounted on an easel. The remaining lines and shades, ranging from ochre to grey, give us a peek into Child's studio. "Bernard Childs pintado mi retrato" forms part of Zobel's Dialogos, his sublime conversations with art and the artists themselves. He described this series as follows: "I think this series will last all my life until the day I depart this world. The idea behind Diálogos is to speak of art with art but with the brushes at the ready." The Dialogos is Zobel's "own way of seeing." Villalba Salvador writes that the years between 1963 and 1975 were the longest phase in Zobel's career, characterized by the artist's "return to color," with "the siennas, dark browns, ochres, and greys" appearing in Zobel's canvas. Previously, Zobel had ventured into his Serie Negra—monochromatic canvases characterized by black lines on a white background. The Dialogos was the first series borne from this revival. Zobel captures the colorful history of art by studying and contemplating various elements integral to an artist's process—light, movement, color, gesture, and intention, and "disarranges and rearranges so as to build in his own way," as Villalba Salvador puts it. But this work at hand veers from Zobel's typical Dialogos, opting instead for a lighthearted, casual, and to some extent, warm and sentimental conversation (mainly due to its delicate and ethereal textures) with his friend, Childs. Unlike other works from his Dialogos series, in which he converses with the masters of yore and their masterpieces he saw at the various museums he visited, "Bernard Childs pintado mi retrato" is Zobel's dialogue with a fellow artist, who also happened to be one of his dearest friends. Memory became integral to Zobel’s praxis beginning in 1963, with his lived experiences becoming the basis of his subjects. Thus, the work is a cherished experience immortalized on a canvas, a visit not to the museum but to the hallowed bastion of platonic intimacy. It can also be Zobel's dialogue with himself, what he sees and thinks of himself while Childs paints his portrait, imbuing in this piece a multi-dimensional quality, a portrait within a portrait. In many ways, Zobel and Childs mirrored each other. Both were interested and keenly aware of the sublime interplay between light and shadow and color, line, and space, producing works with a distinct kind of poetic clarity and lyricism and varying and rich textures. Both also delved into deliberate construction and logical spontaneity; Childs would repeatedly modify and alter his plates for months until satisfaction filled him, while Zobel would draw numerous preliminary sketches and drafts and write notes before working on his canvas. But both still gave free rein to their creative instincts. Zobel and Childs also weaved hints of figuration into their overtly abstract works. In one way or another, we can see Childs' influence on Zobel's return to color in his Dialogos since the former was known for using the unbridled movement and potency of colors to evoke recollections. Zobel then unleashed a refined lyricism that enshrined his memories of personal experiences in his altar of consciousness, wedding the spiritual and corporeal, in the same manner that Child put his stories of survival during the Second World War as the foundation of his art. (Adrian Maranan)

              Leon Gallery
            • Fernando Zóbel (1924 - 1984) - a.) Abstract b.) Sketchbooks, by Fernando Zóbel
              Sep. 09, 2023

              Fernando Zóbel (1924 - 1984) - a.) Abstract b.) Sketchbooks, by Fernando Zóbel

              Est: ₱500,000 - ₱650,000

              Fernando Zóbel (1924 - 1984) a.) Abstract b.) Sketchbooks, by Fernando Zóbel a.) signed (lower right); ca. 1953 b.) 80 pages; published by Carmelo and Bauermann, 1954 a.) oil on paper b.) Condition: Cover shows slight signs of wear at spine but inside pages are pristine. a.) 8 1/4" x 11 1/4" (21 cm x 26 cm) b.) 7 1/2" x 4 3/4" (19cm x 12 cm) "The work at hand is among the last surviving pieces from Fernando Zobel’s first foray into abstraction in 1953, as the artist would destroy many of his earliest abstract pieces. 1953 would mark several significant milestones in Zobel’s life and career. He would be elected the Art Association of the Philippines (AAP) President, founded by Purita Kalaw-Ledesma in 1948. 1953 would also represent his struggles between two spectrums of his art: figurative and abstraction. At the Philippine Art Gallery in 1953, Zobel held his debut solo show, exhibiting Philippine and religious themes (with hints of social critique and commentaries relating to the milieu of post-war Manila) rendered in a figurativ style reminiscent of Henri Matisse, who was a significant influ nce on Zobel in these early years. That very same year would also mark his first v nture into abstraction. The work at hand belongs to Zobel’s seminal encounter and experimentation with abstraction, particularly with nonobjective art, a style he included in his course, Introduction to Contemporary Painting, at the Ateneo Graduate School, in 1952. There, Zobel taught that “a painting need have no relation with the appearance of natural subjects. It can deal either with emotions (organic school: abstract expressionism) or with constructions (geometric school).” In this piece, Zobel shows his distinct kind of vibrant and confid nt spontaneity that would gradually emerge in his future ventures into abstraction, beginning particularly in the Saetas. The vivid colors of Matisse can be seen. Blots of interchanging colors of dark blue, light blue, and black are rendered in a pointillist-like technique. Zobel even participated in the Philippine Art Gallery’s First Non-Objective Art Exhibition in 1953. His works Plaza and Tenaza/Snappers were deemed two of the most distinguished by the poet and art critic Aurelio Alvero, who went by the nom de plume “Magtanggol Asa.” Alvero describes non-objective art in the exhibition catalog: “In this new trend, the artist does away with the depicting of the external of the object. He goes into the internal which to him is definitely more valuable. He fragmentizes his subject and finally reassembles the fragments into a composition that completely eliminates cognizable representation.” But Zobel's initial delve into abstraction would only last for a while, as he would destroy many of his earliest abstract paintings and return to his figurativ Philippine themes, in keeping up with the Neo-Realist spirit of brashness in the face of reconstruction and rehabilitation of a post-war Philippines. It can be remembered that Zobel had formed profound friendships with the champions of Neo-Realism during this time: the PAG stars Arturo Luz, H.R. Ocampo, Anita Magsaysay-Ho, and Vicente Manansala. Villalba Salvador notes that Zobel destroyed many of his initial abstract pieces “as he found such endeavors to be lacking in meaning and also somewhat incoherent.” Thus, this particular piece is a rare, indispensable memento of Zobel’s earliest excursion into what would eventually become his legacy in Philippine art. This lot includes Zobel’s Sketchbooks, published in 1954. Zobel conceived the book as something one can carry in the pocket and bring everywhere. “In a sense, these sketchbooks are a kind of diary,” Zobel writes in his foreword. “Primarily, they contain quick impressions of things observed, but in many cases, there are studies, more or less elaborate, for future paintings.” Sketchbooks includes Zobel’s studies for Carroza (1953), his awardwinning piece at the Art Association of the Philippines (AAP) Annual in October 1953. (Adrian Maranan)"

              Leon Gallery
            • Fernando Zobel (1924 - 1984)
              Jul. 29, 2023

              Fernando Zobel (1924 - 1984)

              Est: ₱15,000 - ₱19,500

              Tucsula hand signed (lower right) limited lithograph, 2/80 6 1/2” x 9” (17 cm x 23 cm)

              Leon Gallery
            • ZÓBEL, FERNANDO (1924 - 1984)
              Jul. 19, 2023

              ZÓBEL, FERNANDO (1924 - 1984)

              Est: -

              Etching on Guarro paper. Signed with the artist's anagram in the lower right corner. Edition of 450 copies. Made by Fernando Zóbel in Cuenca, October 31, 1973 and printed in Madrid by Andivero y Arribas. The work was conceived as a Christmas gift for the clients and friends of Juana Mordó in 1974. Bibliography: - PÉREZ-MADERO, Rafael.: Zóbel. Complete graphic work. Provincial Council of Cuenca. Cuenca, 1999. Pgs. 154-155. Cat. No.: 150. Rep. Col.

              Duran Arte y Subastas
            • FERNANDO ZÓBEL DE AYALA Manila (1924) / Rome (1984) "Orilla 53", 1981
              Jul. 18, 2023

              FERNANDO ZÓBEL DE AYALA Manila (1924) / Rome (1984) "Orilla 53", 1981

              Est: €150,000 - €200,000

              Oil on canvas Signed in the lower left corner. On the back signed, titled and numbered 81-73. Painted in Cuenca. Bibliography: - Alfonso de la Torre, "Fernando Zóbel: Catalog raisonné of paintings (1946-1984)", Azcona Foundation, Juan March Foundation, Ayala Foundation and Herederos de Fernando Zóbel, 2023; p. 628 Measurements: 70 x 70 cm

              Ansorena
            • FERNANDO ZÓBEL DE AYALA Manila (1924) / Rome (1984) "Sevilla tenth of January", 1983
              Jul. 18, 2023

              FERNANDO ZÓBEL DE AYALA Manila (1924) / Rome (1984) "Sevilla tenth of January", 1983

              Est: €180,000 - €240,000

              Oil on canvas Signed in the lower left corner. On the back signed, dated, titled and numbered 83-2. Painted in Seville. Annotated in Zóbel's Notebook: "White Series". Bibliography: - Alfonso de la Torre, "Fernando Zóbel: Catalog raisonné of paintings (1946-1984)", Azcona Foundation, Juan March Foundation, Ayala Foundation and Herederos de Fernando Zóbel, 2023, p. 649 Measurements: 80 x 100 cm

              Ansorena
            • FERNANDO ZÓBEL DE AYALA Y MONTOJO Sin título, Offset, Not signed
              Jul. 13, 2023

              FERNANDO ZÓBEL DE AYALA Y MONTOJO Sin título, Offset, Not signed

              Est: -

              FERNANDO ZÓBEL DE AYALA Y MONTOJO (Manila, Filipinas, 1924 – Roma, Italia, 1984) "Sin título" Offset, Not signed 47 x 60,5 cm

              Arte Subastas Bilbao
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