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Lot 129: Alfonso Ossorio (1916 - 1990) - #12 '67 ("Arimula")

Est: ₱2,200,000 PHP - ₱2,860,000 PHPSold:
Leon GalleryMarch 09, 2024Makati City, Philippines

Item Overview

Description

PROPERTY FORMERLY IN THE FERNANDO ZOBEL COLLECTION
#12 '67 ("Arimula")
1967 signed (lower right), dated and dedicated "For Fernando Zobel" (verso)
mixed media
25" x 13" (64 cm x 33 cm)


PROVENANCE: A gift from the artist to Fernando Zobel
EXHIBITED: Cordier & Ekstrom, 978 Madison Avenue, New York, March 1967


WRITE UP:
Ossorio to Zobel : A Gift Exchanged Between Patrician Artists For Ossorio, the choice of the word “congregations” had religious resonance, his wild, weird and wonderful aggrupations were intended to be like a flock of the faithful, bound together in a single act of worship. In many ways, they were the sum total of his experiences as an artist, dating from his early years exploring primitive art at Harvard, his exposure to Celtic iconography, to the Filipino folk references in his St. Joseph the Worker murals, and to the experimentalist perspectives of Abstract Expressionism; even to his interactions with the mosaic tables create by Lee Krasner, Pollock’s widow, would figure into these works. For him,“congregations” were the three-dimensional progression of his earlier works. “There was no way of stirring things up enough by doing it with traditional means,” exclaimed Ossorio to one interviewer. This series returned Ossorio to his surrealist roots (although Ossorio would refuse to be be pigeonholed by that term), utilizing a variety of are objects (versus “found”). 12'67 (Arimula) his “Congregations” in full bloom as the works he showed in 1961, when he participated in the Museum of Modern Art’s exhibit, “The Art of Assemblage.” His other term for these obsessive treatments were “horror vacui” (the fear of empty spaces), filling like his good friend Pollock the “canvases” end to end, tampering with traditional vanishing points, breaking all the rules, and building them up again. He sought new materials and new effects. It was to become the style Ossorio for which would be best known (at least to a new generation of critics and collectors. _______ Ossorio was born in Manila, on August 2, 1916, to a background as patrician as that of Fernando Zobel y Montojo, if not more so — if that were at all possible. Ossorio would be shipped off to various English boarding schools, before going to the United States, where his father had taken up permanent residence. He would be enrolled in the exclusive Portsmouth Priory, a Benedictine abbey, on Rhode Island. (Ossorio’s graduation from there would be mentioned in the same breath in the society pages alongside a lunch tendered by Mr and Mrs W.H. Vanderbilt on their yacht.) In 1934, Alfonso entered the hallowed halls of Harvard University, emerging in 1938. He would take up residence a few years later in a ranch in New Mexico. There he would meet the gallerist Betty Parsons, also vacationing in the desert sands, a divorcee whose family had lost their fortune and is said to have hocked her engagement ring to bankroll her artistic career. Parsons would invite Ossorio to join her roster of artists, which eventually included Mark Rothko, Robert Rauschenberg, as well as the then-equally unknown Jackson Pollock, who would become a great friend and ally in the Abstract Expressionist movement. It would not at all be surprising that the paths of these worldly, artistic scions would cross. 12'67 Arimula (following Pollock’s penchant for coded numbers) would be testament to common horizons. Interestingly, there is a handle of a blackened silver spoon in this particular assemblage, possible a witty jibe at his fellow aristocrat for which this work was handpicked as a gift. Wrote the New York Times reviewing this very show where the work at hand appeared at Cordier & Ekstrom in 1967.“You would hardly think that Mr. Ossorio could have found the time, since his last show, to stick together the thousands of glass eyes, beads, mirrors, animal horns, shells and unidentifiable objects that make up his spectacular assemblages. But here is another big show in his devilishly gaudy manner. He seems more than ever to be creating decorations and votive objects for an expensive and highspirited pagan ritual — to be performed, of course, in the best company.” (Lisa Guerrero Nakpil)

Artist or Maker

Payment & Shipping

Payment

Accepted forms of payment: COD (cash on delivery), MasterCard, Money Order / Cashiers Check, Personal Check, Visa, Wire Transfer

Shipping

Auction house will help to arrange shipment at buyer's expense.

Auction Details

The Asian Cultural Council Auction 2024

by
Leon Gallery
March 09, 2024, 02:00 PM PST

Eurovilla 1, Rufino corner Legazpi Streets, Legazpi Village, Makati City, PH

Terms

Buyer's Premium

25.16%

Bidding Increments

From:To:Increment:
₱0₱9,999₱1,000
₱10,000₱19,999₱2,000
₱20,000₱59,999₱5,000
₱60,000₱199,999₱10,000
₱200,000₱399,999₱20,000
₱400,000₱799,999₱50,000
₱800,000₱1,999,999₱100,000
₱2,000,000₱4,999,999₱200,000
₱5,000,000₱9,999,999₱500,000
₱10,000,000+₱1,000,000

Terms & Conditions

The following are the terms and conditions that Leon Gallery has set for the auction. Kindly read carefully.

Leon Gallery, all the participants of the event, processes, and transactions shall be guided accordingly by these rules:

GENERAL:

a. Each item (lot) in this catalog is offered for sale dependent on the terms exhibited below.

b. All lots are numbered according to the catalog unless otherwise stated by the auctioneer.

c. Transferring, selling, assigning of lots to anyone other than the bidder that won prior to the removal of the lot from the gallery is not allowed. Only the winning bidder has the authority to remove the lot from the gallery.

d. All items sold do not have any warranty. Leon Gallery is not and will not be liable for any unfortunate circumstances that can happen to the lot after it has been transferred to the winning bidder.

e. All participants must agree to be bound by the terms that have been set by Leon Gallery.

BIDDING:

a. Bidders are required to complete and sign registration forms. Participants shall be asked to present a valid government-issued identification card (passport, driver's license, etc.) upon registration.

b. Before the auction proper, each buyer will be given an assigned buyer's number. The highest bidder of a specific lot shall be the buyer of the lot.

c. The auctioneer shall announce the winning bid and the corresponding buyer's number of the bidder. Failure of the winning bidder to object at the time of the announcement shall be considered as an acknowledgment of the bid and purchase. The buyer is legally liable to purchase the lot or pay the difference if the host must re-offer and sell it for a reduced price.

d. The buyer's premium shall be 25.16%

e. The auctioneer shall be in charge of supervising the bidding and shall be the sole arbiter of any disputes. Leon Gallery reserves the right to withdraw property at any time before the sale and reject a bid from any bidder.

f. Absentee bids are allowed in this auction. They are permitted to bid until fifteen (15) minutes prior to the start of the auction for all the items in the auction. Absentee bids for later lots may continue to be accepted according to announcements or signs posted on the office window. A deposit may be requested on absentee bids over Two Hundred Thousand Pesos (Php 200,000) or at the discretion of the auctioneer. The auctioneer will be responsible of bidding the absentee bid in opposition to the floor bidders. In case a tie occurs, the earlier bid wins the lot. Leon Gallery will not be liable for any failed absentee bid. The absentee bidders may contact the gallery after the auction to know if they won the lot.

PAYMENT:

a. The balance of the invoice must be paid in full and merchandise picked up within three (3) days from the date of the sale. One week after the auction, left items may be moved to an off-site facility for pick-up. A storage fee will be charged if merchandise is left longer than two (2) weeks of One Hundred Pesos (Php 100) per lot per day. If the property is left longer than four (4) weeks, it will be considered abandoned. We are not responsible for shipping, but if packing and handling of purchased lots will be done by us, it is done at the entire risk of the purchaser. A refundable deposit may be required.

b. Cash, cashier's check, wire transfer, personal check (items may be held until the check clears). If any legal action is commenced to enforce these Conditions of Sale, the prevailing party shall be entitled to recover its reasonable attorney's fees and costs. Time is of the essence.

Payments shall be wired to:

Account Name: Leon Gallery
Account Number: 2166008845
Address: G/F Corinthian Plaza, 121 Paseo de Roxas, Legazpi Village, Makati City, Philippines
Swift Code: MBTCPHMM

LITIGATION:

In case if litigation between Leon Gallery and the buyer, the parties must submit to the Law Courts of Makati.

Shipping Terms

Auction house will help to arrange shipment at buyer's expense.

Payment

a. The balance of the invoice must be paid in full and merchandise picked up within three (3) days from the date of the sale. One week after the auction, left items may be moved to an off-site facility for pick-up. A storage fee will be charged if merchandise is left longer than two (2) weeks of One Hundred Pesos (Php 100) per lot per day. If the property is left longer than four (4) weeks, it will be considered abandoned. We are not responsible for shipping, but if packing and handling of purchased lots will be done by us, it is done at the entire risk of the purchaser. A refundable deposit may be required.

b. Cash, cashier's check, wire transfer, personal check (items may be held until the check clears). If any legal action is commenced to enforce these Conditions of Sale, the prevailing party shall be entitled to recover its reasonable attorney's fees and costs. Time is of the essence.

Payments shall be wired to:

Account Name: Leon Gallery
Account Number: 2166008845
Address: G/F Corinthian Plaza, 121 Paseo de Roxas, Legazpi Village, Makati City, Philippines
Swift Code: MBTCPHMM