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The Kingly Treasures Auction 2018 1 December 2018 | 2:00 PM Marina Cruz Untitled Ronald Ventura Embrace León Gallery FINE ART & ANTIQUES
León Gallery FINE ART & ANTIQUES The Kingly Treasures Auction 2018 1 December 2018 | 2:00 PM Marina Cruz Untitled Ronald Ventura Embrace León Gallery FINE ART & ANTIQUES AuctionAuction SaturdaySaturday || DecemberDecember 1,1, 20182018 2:002:00 PMPM PreviewPreview NovemberNovember 2424 -- 30,30, 20182018 9:009:00 AMAM -- 7:007:00 PMPM VenueVenue G/FG/F EurovillaEurovilla 11 RufinoRufino cornercorner LegazpiLegazpi StreetsStreets LegazpiLegazpi Village,Village, MakatiMakati CityCity PhilippinesPhilippines ContactContact www.leon-gallery.comwww.leon-gallery.com [email protected]@leon-gallery.com +632+632 856-27-81856-27-81 Fernando Amorsolo Planting Rice Mark Justiniani Lutaw-Lutaw 9 Foreword 10 - 249 Lots 1 - 167 256 Index 257 Terms and Conditions 258 Registration Form León Gallery FINE ART & ANTIQUES Director Jaime L. Ponce de Leon Curator Lisa Guerrero Nakpil Consultants Martin I. Tinio, Jr Augusto M.R Gonzalez III Ramon N. Villegas (+) Writer Earl Digo Book Design and Layout Jefferson Ricario Senior Graphic Designer Dia Marian P. Magculang Graphic Design & Photography John Gabriel Yu Christine Marie Tabiosas Dana de Vera Kyle Kenneth Bautista Project Assistants Nestorio Capino Jane Daria Ramil Flores Robert Gotinga Generoso Olaco Catalino Mallabo Jr. Anjello Bueno Reneliza de Taza Laurence Anne Torres Wilfredo M. Manalang Anna Lyn Calizo Richelle Custodio Published by León Gallery G/F Eurovilla 1 Rufino corner Legazpi Streets Legazpi Village, Makati City Metro Manila, Philippines This catalogue is published to accompany the auction by León Gallery entitled The Kingly Treasures Auction 2018 All rights reserved. No part of this catalogue may be reproduced or re-printed without the express written consent of León Gallery. -
St. Louis Review Center, Inc-Davao Tel. No. (082) 224-2515 Or 222-8732 1 Types of Perspective: One Point – a Representation of Distance by Means of Converging Lines
Music, Arts, Physical Education and Health (MAPEH) Focus: The Visual Arts Competencies: 1. Distinguish and analyze the different elements, principles, and mediums of different visual arts 2. Identify and classify the different themes of visual arts in the Philippines 3. Appreciate and be proud of Philippine visual art masterpiece as part of cultural enrichment PART I – CONTENT UPODATE I. Definition of terms: 1. Painting – refers to the application of color, pigment, or paint to a surface or support. These surfaces may include paper, wood, canvas, metal or walls. Paint is made of pigment mixed in a binder. 2. Sculpture – a three dimensional artwork which may be through different processes, such as carving, modeling, assembling or casting. It may be executed as a free- standing object, in relief, or in environments, and a variety of media may be used. 3. Architecture – the art and science of designing and constructing buildings (structures), and other environmental features. II. The elements of Visual Arts 1. Line – the most basic of all elements. A line is an identifiable path traced by a moving point. Lines vary in types. They can be horizontal, vertical, diagonal, straight or curved thick or thin. Different lines are used to signify, different feelings. For example: Horizontal line – suggests a feeling of rest, serenity, or perfect stability Vertical line – dominance, height, power Diagonal line – uncertainty, unrest, movement or action Curved line – flow, softness, flexibility, grace 2. Shape – shapes and forms are figures which define object s in space. A shape is a two- dimensional figure. Circles, triangles, and squares are common examples of shapes. -
Chinese Influences in Philippine Culture
Miclat FEATURE ARTICLE Tradition, Misconception, and Contribution: Chinese Influences in Philippine Culture Maningning C. Miclat ABSTRACT This paper discusses Chinese influence on Philippine arts and crafts, as shown in artifacts from the Sino-Philippine trade of pre-Hispanic times—the churches, religious icons, and paintings of the Spanish period— and in the contemporary art of the Chinese Filipinos. The Chinese traditional elements are given new meanings in a new environment, and it is these misconceptions and misinterpretations of the imported concepts that influence and enrich our culture. THE PRE-HISPANIC PAST The Sino-Philippine trade is believed to have begun in AD 982. The History of the Sung Dynasty or Sung Shi, published in 1343- 1374, confirmed that trade contact started during the 10th century. A 13th century Sung Mandarin official, Chau Ju-kua, wrote a geographical work entitled “A Description of Barbarous Peoples” or Chu Fan Chi, the first detailed account on Sino-Philippine trade. The 14th century account of Ma Tulin entitled “A General Investigation of Chinese Cultural Sources” or Wen Shiann Tung Kuo referred to the Philippines as Ma-i.1 The presence of trade is further proven by the Oriental ceramics from China, Vietnam, and Thailand that have been excavated from many places in the archipelago (Zaide: 1990). The Chinese came to the Philippines and traded with the natives peacefully, exchanging Chinese goods with hardwood, pearls, and turtle shells that were valued in China. Traditional Chinese motifs that symbolize imperial power are found in the trade ceramics found in the Philippines. These are the 100 Humanities Diliman (July-December 2000) 1:2, 100-8 Tradition, Misconception, and Contribution dragon and the phoenix; auspicious emblems of prosperity, long life, and wealth, such as fishes, pearls, and blossoms, like peonies; and the eight precious things or Pa Bao, namely, jewelry, coins, open lozenges with ribbons, solid lozenges with ribbons, musical stones, a pair of books, a pair of horns, and the Artemisia leaf. -
An Exceptional Inclusion: on Moma's Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian
An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art Kathleen Ditzig Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 1, Number 1, March 2017, pp. 39-80 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2017.0002 For additional information about this article https://muse.jhu.edu/article/646477 [ Access provided at 26 Sep 2021 16:50 GMT with no institutional affiliation ] An Exceptional Inclusion: On MoMA’s Exhibition Recent American Prints in Color and the First Exhibition of Southeast Asian Art KATHLEEN DITZIG The exhibition of the First Southeast Asia Art Conference and Competition in Manila in 1957 was one of the first post-war events that sought to bring together the then contemporary art from the region.1 What is unusual and worthy of study about this exhibition is that not only was it the first survey exhibition of Southeast Asia, it also included the Museum of Modern Art (MoMA) International Program’s travelling exhibition, Recent American Prints in Color.2 Little is known of the history behind the First Southeast Asia Art Conference and Competition. There have been no studies which recount in detail how the conference and competition came to be, who it served and what it represented.3 Even less is known about how the MoMA exhibition came to be included in this unprecedented platform. However, its inclusion as a participant in the one-room survey exhibition complicates an indigenous art organisation’s attempt to present Southeast Asia as a cultural region within an exhibitionary frame. -
The Philippines: Prospects in Business and the Arts
THE PHILIPPINES: PROSPECTS IN BUSINESS AND ARTS Sponsored by the Philippine Cultural Society (Singapore) In cooperation with Philippine Airlines. 26 TH October 2002, Hilton Hotel I am really happy to be here this afternoon with all my kababayans. I know you will be given a lot of talk about investment opportunities but I like to talk about some smaller investments that you might be interested namely Filipino artists. I can guarantee you that these investments will give you less risk, more enjoyment and the investment amount is very small. I am talking about investing in paintings specifically paintings by Filipino artists. I would like to show you some of the slides of our artists and as much as I would like to show many artists, I am afraid with the short notice and the time constraints, I am limited to what I have that is available. INTRODUCTION For me art is very personal and being brought up in the Philippines, living in the United States and Southeast Asian countries I have witnessed and interacted with many of our artists who are either visiting or working abroad. My views on the subject are probably very different from the rest of the panelists as I categorized the artists in a way that maybe different from academics and art critics. As you may have noticed, we have a great diversity when it comes to art as we have many different groups with many different influences. I am proud to say that we are rich when it comes to art and 1 that we, probably, have as many artists as we have islands in the Philippines. -
Victorio C. Edades
TUESDAY, JANUARY 17, 2012 Victorio C. Edades Victorio C. Edades (1895-1985) Philippine National Artist Father of Modern Philippine Art This special post is dedicated to a great Filipino master who spent his retirement years with his family in Davao City from 1967 until he breath his last on 1985 at age 89. He was a Philippine National Artist, and co-founder of the Mindanao Ethnoculture Foundation that focused on the indigenous culture and heritage of Mindanao. He was Victorio C. Edades, "Father of Modern Philippine Art." Born on December 13, 1895 in Barrio Bolosan in Dagupan, Pangasinan, Victorio Edades was the youngest of ten children, six of whom died from smallpox epidemic shortly before the turn of the 20th century. Edades' artistry began at an early age. He obtained his early education in barrio schools and went to a high school in Lingayen, Pangasinan. By seventh grade, his teachers were so impressed with his talent that he was fondly named, "apprentice teacher" in his art class. He was very good in class from the very beginning, having earned several awards in school debates and writing competitions. University of Washington in Seattle, USA In 1919, after high school, Edades left for the United States to study arts. He initially worked in salmon canneries in Alaska and eventually moved to Seattle where he took up Architecture at the University of Washington and earned a Master of Fine Arts in Painting. It was also during his stay in the U.S. that he married American Jean Garrott, with whom he had his only daughter, Joan. -
Art Archive 02 Contents
ART ARCHIVE 02 CONTENTS The Japan Foundation, Manila A NEW AGE OF CONTEMPORARY PHILIPPINE CINEMA AND LITERATURE ART ARCHIVE 02 by Patricia Tumang The Golden Ages THE HISTORIC AND THE EPIC: PHILIPPINE COMICS: Contemporary Fiction from Mindanao Tradition and Innovation by John Bengan Retracing Movement Redefiningby Roy Agustin Contemporary WHAT WE DON’T KNOW HistoriesABOUT THE BOOKS WE KNOW & Performativity Visual Art by Patricia May B. Jurilla, PhD SILLIMAN AND BEYOND: FESTIVALS AND THE LITERARY IMAGINATIONS A Look Inside the Writers’ Workshop by Andrea Pasion-Flores by Tara FT Sering NEW PERSPECTIVES: Philippine Cinema at the Crossroads by Nick Deocampo Third Waves CURRENT FILM DISTRIBUTION TRENDS IN THE PHILIPPINES by Baby Ruth Villarama DIGITAL DOCUMENTARY TRADITIONS Regional to National by Adjani Arumpac SMALL FILM, GLOBAL CONNECTIONS Contributor Biographies by Patrick F. Campos A THIRD WAVE: Potential Future for Alternative Cinema by Dodo Dayao CREATING RIPPLES IN PHILIPPINE CINEMA: Directory of Philippine The Rise of Regional Cinema by Katrina Ross Tan Film and Literature Institutions ABOUT ART ARCHIVE 02 The Japan Foundation is Japan’s only institution dedicated to carrying out comprehensive international cultural exchange programs throughout the world. With the objective of cultivating friendship and ties between Japan and the world through culture, language, and dialogue, the Japan Foundation creates global opportunities to foster trust and mutual understanding. As the 18th overseas office, The Japan Foundation, Manila was founded in 1996, active in three focused areas: Arts and Culture; Japanese Studies and Intellectual Exchange; Japanese- Language Education. This book is the second volume of the ART ARCHIVE series, which explores the current trends and concerns in Philippine contemporary art, published also in digital format for accessibility and distribution on a global scale. -
FRISSON: the Collected Criticism of Alice Guillermo
FRIS SON: The Collected Criticism of Alice Guillermo Reviewing Current Art | 23 The Social Form of Art | 4 Patrick D. Flores Abstract and/or Figurative: A Wrong Choice | 9 SON: Assessing Alice G. Guillermo a Corpus | 115 Annotating Alice: A Biography from Her Bibliography | 16 Roberto G. Paulino Rendering Culture Political | 161 Timeline | 237 Acknowledgment | 241 Biographies | 242 PCAN | 243 Broadening the Public Sphere of Art | 191 FRISSON The Social Form of Art by Patrick D. Flores The criticism of Alice Guillermo presents an instance in which the encounter of the work of art resists a series of possible alienations even as it profoundly acknowledges the integrity of distinct form. The critic in this situation attentively dwells on the material of this form so that she may be able to explicate the ecology and the sociality without which it cannot concretize. The work of art, therefore, becomes the work of the world, extensively and deeply conceived. Such present-ness is vital as the critic faces the work in the world and tries to ramify that world beyond what is before her. This is one alienation that is calibrated. The work of art transpiring in the world becomes the work of the critic who lets it matter in language, freights it and leavens it with presence so that human potential unerringly turns plastic, or better still, animate: Against the cold stone, tomblike and silent, are the living glances, supplicating, questioning, challenging, or speaking—the eyes quick with feeling or the movements of thought, the mouths delicately shaping speech, the expressive gestures, and the bodies in their postures determined by the conditions of work and social circumstance. -
20 Pieces You Should Check out at Art Fair Philippines 2020
20 Pieces You Should Check Out at Art Fair Philippines 2020 Images and text by: Koji Arsua I have made it my pilgrimage to visit Art Fair Philippines. I have not missed a single once since 2013 and I’m glad I made it to this year’s edition. I found this run more exciting, especially the Special Projects section, which was tastefully curated by Norman Crisologo. The way the section was exhibited was cohesive, so moving from one exhibit to another felt more seamless. This year had 61 galleries (compared to 52 last year) but the fair felt spacious and I was less overwhelmed. As a result, I was able to connect deeper to the pieces and find artwork that spoke to me. My friend Marz Aglipay, the head of digital content at Art+ magazine, has a tip: Start from the top and head your way down, ending the show with the Special Projects section. If you’re going to catch Art Fair Philippines 2020 from February 21 to 23 at The Link, Makati, here are the pieces you should check out: 1. Jellyfish Kisses’ Soft Punk s/s 2020, a “safe space for queers, trans sisters, outsiders, or anyone who needs a safe environment.” You can sit here and chat with the artist and take some fabrics to sew or embroider to the pieces. 2. Hauntingly beautiful works by Neil Pasilan. His works took up an entire wall and I was transfixed for a long time. They drew me in with their hypnotic quality. 3. This piece by Jaime de Guzman also drew me in 4. -
Gender As the Elephant in the Room of Southeast Asian Art Histories
Art on the Back Burner: Gender as the Elephant in the Room of Southeast Asian Art Histories Eileen Legaspi-Ramirez Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 3, Number 1, March 2019, pp. 25-48 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2019.0002 For additional information about this article https://muse.jhu.edu/article/721044 [ Access provided at 23 Sep 2021 11:07 GMT with no institutional affiliation ] Art on the Back Burner: Gender as the Elephant in the Room of Southeast Asian Art Histories EILEEN LEGASPI-RAMIREZ Abstract Despite the operative skepticism about the way compensatory art history appears to have reduced the feminist project to merely expanding rather than challenging the canon, the assertion here is that still too scant attention has been paid to studying the critical role that primarily woman artist-organisers have played in shaping narratives of practice. In focusing on their visible tasks through variable degrees of sublimating art practice in deference to less visible tasks like archiving, art education, organising and publication, the research also privileges the aspects of circulation and reception as it revisits the shaping of artworlds in stories that have ironically kept such ‘maintenance’ tasks virtually off the record. It is telling that certain visual correlatives for the woman in Southeast Asia continue to circulate: from Garuda’s wing in Indonesia to an elephant’s hind legs in Thailand, we find amidst these variably poetic depictions an emplacing that literally decentres women from the pivotal junctures of action. -
The Met's New Guards & the Future of Philippine
AUTHENTICATION IN ART Art News Service The Met’s new guards & the future of Philippine contemporary art By John A. Magsaysay (The Philippine Star) | Updated February 2, 2013 The sun rises to a new dawn in Philippine contemporary art, in tune with the bells and whistles of our bustling economy. Our thriving artistic identity, it seems, is its new currency. With names like Ronald Ventura and Winner Jumalon fetching record highs in international art auctions, and seeing the steady incline of young Filipino artists being exported to global art residencies, the new face of Filipino art, it seems, is the must-have mug shot of creative acclaim around the world. But it used to be that the success of our own brand of contemporary art could only be traced by price tags, performances Custodians of Philippine contemporary art: Acclaimed in art auctions, and the privilege of plum gallery educator, art publisher, and the Metropolitan Museum of Manila president Tina Colayco and adviser to the representations well outside our shores. Yet, this Guggenheim Museum on South East Asian art, art scholar Dr. time, by reviving a cultural landmark, Philippine Patrick Flores standing proud amid a powerful display of contemporary art’s colorful success has finally Filipino contemporary art at the Met’s Tall Gallery, for its found a place to call home. “Philippine Contemporary: Scaling The Past and the Possible” exhibition opening to the public on Friday, Feb. 8. The Metropolitan Museum of Manila, once the fortress of pre-colonial fineries and colonial fine art and located at the Bangko Sentral Compound on Roxas Boulevard, has, since 1976, been home to some of the country’s most priceless collections of art and artifacts. -
The Spectacular Mid-Year Auction 2020
León Gallery FINE ART & ANTIQUES The Spectacular Mid-Year Auction 2020 20 June 2020 | 2:00 PM Marc Aran Reyes (b. 1996) The Audacious Future (The Onerrific Timepiece Series) León Gallery FINE ART & ANTIQUES Auction Saturday | June 20, 2020 2:00 PM Preview June 13 - 19, 2020 9:00 AM - 7:00 PM Venue G/F Eurovilla 1 Rufino corner Legazpi Streets Legazpi Village, Makati City Philippines Contact www.leon-gallery.com [email protected] +632 8856 2781 Be@rbrick x MEDICOM Jackson Pollock Be@rbrick - 1000% Limited Director Jaime L. Ponce de Leon Curator Research and Text Lisa Guerrero Nakpil Jed Nathan Daya Andrea Lim Consultants Martin I. Tinio, Jr (+) Graphic Arts Ramon N. Villegas (+) Joemari Barbacena Aldrene Harold Carillo Management Patricia Louisse Dato Jane Daria Edwin Hurry Jr. Aliana Jannie Bricenio Richelle Custodio Gallery Support Team Magdalina Juntilla Nestorio Capino Jr. Reymar Jurado Zinister Allan Carmona Geller Nabong Ramil Flores Nyza Mae Neri Robert Gotinga Aleza Nevarez Jayson Lopez Rouel Sanchez Wilfredo Manalang Louise Sarmiento Generoso Olaco Celina Sta. Ana Manuel Sintos Joanna Tamayo Allan Jules Torrion Reneliza de Taza Published by León Gallery G/F Eurovilla 1 Rufino corner Legazpi Streets, Legazpi Village, Makati City, Metro Manila, Philippines This catalogue is published to accompany the auction by León Gallery entitled The Spectacular Mid-Year Auction 2020 All rights reserved. No part of this catalogue may be reproduced or reprinted without the express written consent of León Gallery. While all reasonable efforts have been made to ensure accuracy of details in this publication, Leon Gallery does not, under any circumstances, accept full responsibility for errors, omissions and representations expressed or implied.