Pacita Abad Paintings & Artwork for Sale | Pacita Abad Art Value Price Guide

Mar. 29, 2025
PACITA ABAD (1946-2004). Ripe. oil, printed cloth, stitched on canvas100 x
Est: $150,000 - $250,000
PACITA ABAD (1946-2004). Ripe. oil, printed cloth, stitched on canvas100 x 100 cm. (39 3/8 x 39 3/8 in.).
Christie's
Feb. 22, 2025
Pacita Abad (1946 - 2004) - Mayon Erupting
Est: ₱300,000 - ₱390,000
Pacita Abad (1946 - 2004) Mayon Erupting signed and dated 1984 (bottom) gouache, ink, and gold leaf paper collaged on handmade paper 21 3/4" x 13 3/4" (55 cm x 35 cm) León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot Provenance: A gift from the artist to Sandra Palou Literature: Findlay, Ian. "Go on, make your week!." South China Morning Post. 7 June 1986. Mentioned as "Mayon Erupting." Exhibited: Hong Kong Arts Center, Pacita Abad: Oriental Abstractions, Hong Kong, 7 - 23 June 1986 The Millenium's Most Important Female Artist: Pacita Abad During her 32-year artistic career Pacita Abad’s paintings were shown in more than 200 museums and galleries and site-specific venues in the United States, Asia, Australia, Europe, Africa and Latin America. Her works are now in museums, public, corporate and private art collections in over 70 countries. In the last few years, Pacita Abad has become arguably the most acclaimed international Filipino artist, male or female. Just to cite a few recent examples of her current fame, her work is presently included in the 2024 International Pavilion of the Venice Biennale, she has a hugely successful solo retrospective exhibition at MOMA’s Ps1 in New York City, the San Francisco Museum of Art and the Walker Art Center in Minneapolis. Pacita Abad came from a prominent Batanes political family. While studying abroad, she married her international banker husband Jack Garrity. She returned to the Philippines in the late '70's and thereafter pursued her artistic career full-time. At the time, Sandra Palou was working as Assistant Director at both the Metropolitan Museum of Manila and the Museum of Philippine Art under Arturo Luz. “Sandie” was one of the first people who recognized Pacita’s talent, which today is being explosively manifested internationally by multiple solo exhibitions in US and UK museums and at the moment inclusion in the International Pavilion of the just opened 2024 Venice Biennale. Sandra encouraged Arturo Luz to visit Pacita's studio. This was a considerable challenge as Arturo Luz, who owned the leading gallery in the Philippines at the time, had no female artist on his roster. It was a product of the times, nor was he interested in giving any Filipina artist a solo exhibition. Sandra however managed to organize a lunch in Pacita’s studio inviting Arturo and two other leading figures in the local art scene—art critic Leónidas Benesa and Anding Roces. After seriously examining her work, Arturo decided to give Pacita a solo exhibition of her Trapuntos at the Museum of Philippine Art. This was a huge success, enjoying much favorable publicity and attained one of the venue’s highest attendances. In the course of her career Pacita not only became an internationally acclaimed artist but the first female TOYM Awardee. This was indeed a ground-breaking achievement since the anagram TOYM stands for “Ten Outstanding Young Men.” The work at hand was created by Pacita when she was in the United States working in her studio at home. She was in a playful mood trying different techniques of painting and different textures. She soaked a sheet of paper, crumpled and formed it. Then she took a swab of cotton and used it like a paint brush. She liked the outcome of the work so much and used it as a study for a trapunto. Pacita died of cancer on the 7th of December 2004 at the age of 58
Leon Gallery
Nov. 30, 2024
Pacita Abad (1946 - 2004) - a.) Blackberries (Scandinavian Glassworks Series) b.) Lanzones (Scandinavian Glassworks Series) c.) Longans (Scandinavian Glassworks Series)
Est: ₱100,000 - ₱130,000
a.) Blackberries (Scandinavian Glassworks Series) b.) Lanzones (Scandinavian Glassworks Series) c.) Longans (Scandinavian Glassworks Series) signed and dated 2004 H: 1” (3 cm) each D: 14 1/2” (37 cm) each Leon Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot Pacita Abad is not recognized as among the most well-known Filipino artists on the international stage for nothing. Her vibrant, dynamic works that capture the diversity and resilience of the human condition that reflect her experiences as well. Abad’s journey into the art world began in the United States, where she initially went to pursue a law degree in San Francisco. However, drawn by an irrepressible creative spirit, she abandoned law to follow her passion for painting—a decision that marked the beginning of a remarkable 30-year career. Her bold choice set her on a path that would take her across continents, immersing herself in different cultures and producing art that speaks to the shared experiences of people worldwide. During her time at Lindshammar, Abad created an impressive series of 80 unique, hand-painted glass pieces. These 13-inch plates featured her characteristic bold colors and intricate patterns, showcasing her versatility and her willingness to experiment with new media. Abad’s glass paintings brought a luminous quality to her signature style, combining her love of color and texture with the transparency of glass. Her work here led to additional glassware products based on her designs, further exemplifying her boundary-pushing creativity and adaptability. Abad’s Scandinavian experiences not only expanded her artistic techniques but also underscored her reputation as a groundbreaking artist, whose bold expressions of cultural diversity continue to inspire collectors and enthusiasts across the world. (Jed Daya)
Leon Gallery
Nov. 09, 2024
PACITA ABAD (1946-2004). Roaming. oil and stitched fabric collage on canvas
Est: $150,000 - $250,000
PACITA ABAD (1946-2004). Roaming. oil and stitched fabric collage on canvas 99.7 x 99.7 cm. (39 1⁄4 x 39 1⁄4 in.).
Christie's
Sep. 14, 2024
Pacita Abad (1946 - 2004) - Still Life VII
Est: ₱400,000 - ₱520,000
Still Life VII signed and dated 1976 (lower right) oil on canvas 24” x 20” (61 cm x 51 cm) Leon Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot WRITE UP Originally on a path to law, driven by a passionate commitment to human rights, Abad's early ambitions were rooted in advocacy. Leaving the Philippines in 1969, she ventured to the United States with the intention of pursuing legal studies, hoping to one day use her skills to support her fellow Filipinos. However, life had other plans. Despite earning a Master's degree in Asian History from the University of San Francisco, Abad found herself irresistibly drawn to the world of art, leading to a profound shift in her life's trajectory. This newfound passion guided her to the Corcoran School of Art in Washington, D.C., where she began formal training as a painter. She further honed her skills at the Art Students League in New York City, a city that would become a pivotal backdrop in her artistic evolution. Abad's career became a global odyssey, marked by an extraordinary output of over 4,500 artworks and participation in more than 200 exhibitions worldwide. Her art is a testament to her restless creativity and her desire to leave a lasting impact on the global art scene. Throughout her career, Abad collaborated with artists, museums, galleries, and collectors across six continents, making her one of the most internationally recognized Filipino artists. Her work is celebrated for its vibrancy and emotional depth, often reflecting her advocacy roots through themes of social justice, identity, and the human experience. Abad's artistic journey is a powerful narrative of transformation and self-discovery, one that took her from the corridors of law to the vibrant studios of the art world. Her legacy continues to inspire, a reminder that the pursuit of one's true passion can lead to unexpected and extraordinary places. (Jed Daya)
Leon Gallery
Sep. 04, 2024
Pacita Abad, Bacongo, #3, 1983;
Est: £400 - £600
Pacita Abad, Filipino/American 1946-2004, Bacongo, #3, 1983; serigraph in colours on wove, signed, dated, titled and numbered 2/2 in pencil, image: 66 x 45.7 cm, (unframed)
Roseberys
Sep. 04, 2024
Pacita Abad, Bacongo # 2;
Est: £400 - £600
Pacita Abad, Filipino/American 1946-2004, Bacongo # 2; serigraph in colours on wove, edition 5/5, sheet: 65.7 x 46 cm, (unframed)
Roseberys
Jul. 27, 2024
Pacita Abad (1946 - 2004)
Est: ₱100,000 - ₱130,000
Longans (Scandinavian Glassworks Series) signed and dated 2004 H: 1” (3 cm) D: 14 1/2” (37 cm) Leon Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot
Leon Gallery
Jul. 27, 2024
Pacita Abad (1946 - 2004)
Est: ₱100,000 - ₱130,000
Lanzones (Scandinavian Glassworks Series) signed and dated 2004 H: 1” (3 cm) D: 14 1/2” (37 cm) Leon Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot
Leon Gallery
Jul. 27, 2024
Pacita Abad (1946 - 2004)
Est: ₱100,000 - ₱130,000
Blackberries (Scandinavian Glassworks Series) signed and dated 2004 H: 1” (3 cm) D: 14 1/2” (37 cm) Leon Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot
Leon Gallery
Jun. 08, 2024
Pacita Abad (1946 - 2004) - Sapuno (Batanes Series)
Est: ₱500,000 - ₱650,000
Sapuno (Batanes Series) signed (lower right) ca. 1984 oil on canvas 32" x 35 1/2" (81 cm x 90 cm) León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot * The proceeds of this lot will be used to benefit the Unang Hakbang Foundation Inc. EXHIBITED: Cultural Center of the Philippines, Pacita Abad: Paintings of People and Landscapes of Batanes (Curated by Ray Albano), Manila, 22 February - 17 March 1985 Throughout her years as an artist, Pacita Abad was deeply engaged in learning and adopting various artistic traditions from all corners of the globe. Her insatiable curiosity and open-mindedness led her to explore diverse techniques and styles, which she then skillfully integrated into her own artistic practice. Abad used these techniques as a medium for creating art that was truly diverse and global in nature. Her unique approach not only garnered her acclaim and recognition worldwide but also played a significant role in bringing together previously isolated and distant cultures through art. Despite this, Abad never forgot her own roots, specifically those deeply planted in her home province of Batanes. A stark contrast to her experimentations in mixed media and undertakings in foreign traditions, Abad’s Batanes series is a love letter to the artist’s home. As the title suggests, the artworks transport viewers to the lush isles of Batanes, effectively showcasing the distinct and unique culture of the Philippines’ northernmost region. However, they do more than simply act as idyllic windows into the charm of Abad's hometown. In Sapuno, we see the exterior of a local household. Pots and pans are seen left out to dry in the yard, while on the ground we see domesticated birds, pecking at the ground for feed and sustenance. The work is a rare glimpse not only of life in Batanes during the time, but Abad’s own inner world. According to Abad’s estate: “Once she realized that her cancer was fatal, she decided that she wanted to die in her Batanes studio overlooking the ocean. After spending two weeks on her last trip to Batanes, she was grudgingly convinced that she had to return to Singapore in order to receive proper medical treatment that was simply not available on the island. After her death, Pacita's ashes were brought back to Batanes.” (Jed Daya)
Leon Gallery
Jun. 08, 2024
Pacita Abad (1946 - 2004) - Sandra's Mysterious World
Est: ₱1,000,000 - ₱1,300,000
Sandra's Mysterious World signed and dated 1985 (lower right) oil and mixed media on panel 55" x 36" (140 cm x 91 cm) EXHIBITED: The Luz Gallery, Pacita and Her Friends (Curated by Arturo Luz), Makati, October 1985 LITERATURE: Garrity, Jack and the Pacita Abad Art Estate. Pacita and Her Friends (Paintings by Pacita Abad). Los Angeles: Pacita Abad Art Estate, 2017. Full-color illustration on page 47 and painting description on page 46. León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot PROVENANCE: The Luz Gallery A Fine Artist and Her Amiga In Celebration of Pacita Abad’s Venice Biennale Debut During her 32-year artistic career Pacita Abad’s paintings were shown in more than 200 museums and galleries and site-specific venues in the United States, Asia, Australia, Europe, Africa and Latin America. Her works are now in museums, public, corporate and private art collections in over 70 countries. In the last few years, Pacita Abad has become arguably the most acclaimed international Filipino artist, male or female. Just to cite a few recent examples of her current fame, her work is presently included in the 2024 International Pavilion of the Venice Biennale, she has a hugely successful solo retrospective exhibition at MOMA’s Ps1 in New York City, the San Francisco Museum of Art and the Walker Art Center in Minneapolis. Pacita Abad came from a prominent Batanes political family. While studying abroad, she married her international banker husband Jack Garrity. She returned to the Philippines in the late '70's and thereafter pursued her artistic career full-time. At the time, Sandra Palou was working as Assistant Director at both the Metropolitan Museum of Manila and the Museum of Philippine Art under Arturo Luz. “Sandie” was one of the first people who recognized Pacita’s talent, which today is being explosively manifested internationally by multiple solo exhibitions in US and UK museums and at the moment inclusion in the International Pavilion of the just opened 2024 Venice Biennale. Sandra encouraged Arturo Luz to visit Pacita's studio. This was a considerable challenge as Arturo Luz, who owned the leading gallery in the Philippines at the time, had no female artist on his roster. It was a product of the times, nor was he interested in giving any Filipina artist a solo exhibition. Sandra however managed to organize a lunch in Pacita’s studio inviting Arturo and two other leading figures in the local art scene—art critic Leonidas Benesa and Anding Roces. After seriously examining her work, Arturo decided to give Pacita a solo exhibition of her Trapuntos at the Museum of Philippine Art. This was a huge success, enjoying much favorable publicity and attained one of the venue’s highest attendances. In the course of her career Pacita not only became an internationally acclaimed artist but the first female TOYM Awardee. This was indeed a ground-breaking achievement since the anagram TOYM stands for “Ten Outstanding Young Men.” In the mid-eighties, just before Jack was relocated to Jakarta, Arturo asked Pacita to do a solo exhibition at the Luz Gallery, again a first for a Filipino female artist. Pacita decided to do a portrait show of her favorite friends and artists during her stay in the Philippines. "Sandra's Mysterious World" was among the portraits prominently exhibited. The painting represents Sandra's colorful life, her involvement with the orphanage of St. Theresa, and her adventurous nature. Their friendship continued through the years, and Pacita became the godmother to Sandra's first child, Amparo. Pacita died of cancer on the 7th of December 2004 at the age of 58.
Leon Gallery
May. 29, 2024
PACITA ABAD (1946-2004) Blues Festival oil, tin, painted cloth stitched on
Est: $120,000 - $180,000
PACITA ABAD (1946-2004) Blues Festival oil, tin, painted cloth stitched on canvas 90 x 75 cm. (35 3⁄8 x 29 1⁄2 in.)
Christie's
Dec. 02, 2023
Pacita Abad (1946 - 2004) - Still Life III
Est: ₱240,000 - ₱312,000
Still Life III signed and dated 1978 (lower right) oil on canvas 28” x 36” (71 cm x 91 cm) Leon Gallery wishes to thank Mr. and Mrs. Jack and Kristiyani Garrity for confirming the authenticity of this lot PROVENANCE: Acquired directly from the present owner WRITE UPPacita Abad’s journey in the realm of art stemmed from a detour through the field of Law, driven by a fervent dedication to championing human rights. Departing the Philippines in 1969, Abad’s initial intention upon arriving in the United States was straightforward: to delve into legal studies and eventually utilize her acquired skills to advocate for her fellow countrymen back home. However, her path took an unexpected turn. Despite achieving a Masters degree in Asian History from the University of San Francisco, Abad discovered her true passion resided within the realm of art. This revelation steered her toward a pursuit of painting, commencing her artistic education at the Corcoran School of Art in Washington D.C., followed by further studies at the Art Students League in New York City. Since then, Abad has traversed an itinerant career, leaving her distinct mark on the global art scene. Her artistic journey has seen her collaborating with various artists, museums, galleries, and collectors across six continents. Her artistic output has been prolific, resulting in over 4,500 distinct artworks created and an impressive portfolio of over 200 exhibitions held across the globe. Completed in 1978 in New York City, this artwork is part of Pacita’s collection of still life paintings crafted during her residency in a studio apartment adjacent to the Chelsea Hotel.” This work is emblematic of the fact that whatever subject-matter Abad chose to focus on, she always had a million things to say. (Jed Daya)
Leon Gallery
Sep. 05, 2023
Pacita Abad, Self-Portrait, 1985
Est: £700 - £1,000
Pacita Abad, Filipino/American 1946-2004, Self-Portrait, 1985; monoprint in colours on wove, signed, dated, inscribed and titled in pencil, image: 63.5 x 47.2 cm, (unframed)
Roseberys
Sep. 05, 2023
Pacita Abad, Bacongo, #3, 1983
Est: £700 - £1,000
Pacita Abad, Filipino/American 1946-2004, Bacongo, #3, 1983; serigraph in colours on wove, signed, dated, titled and numbered 2/2 in pencil, image: 66 x 45.7 cm, (unframed)
Roseberys
Sep. 05, 2023
Pacita Abad, Bacongo #2
Est: £500 - £700
Pacita Abad, American 1946-2004, Bacongo #2; serigraph in colours on wove, titled and numbered 5/5 in pencil, image: 65.7 x 46 cm, (unframed)
Roseberys
Jun. 15, 2023
PACITA ABAD, AMERICAN 1946-2004, BACONGO #2; SERIGRAPH IN COLOURS ON WOVE, TITLED AND NUMBERED
Est: £1,000 - £2,000
Pacita Abad, American 1946-2004, Bacongo #2; serigraph in colours on wove, titled and numbered 5/5 in pencil, image: 65.7 x 46 cm, (unframed)
Roseberys
Jun. 06, 2023
PACITA ABAD, FILIPINO/AMERICAN 1946-2004 - SELF-PORTRAIT, 1985; MONOPRINT, TITLED, SIGNED AND D
Est: £1,000 - £2,000
Pacita Abad, Filipino/American 1946-2004 - Self-Portrait, 1985; monoprint, titled, signed and dated along lower edge 'Self-Portrait pacita 1985', 68 x 50 cm (mounted/unframed)
Roseberys
Apr. 23, 2023
Pacita Abad Art Plate
Est: ₱3,000 - ₱3,900
Gatotkaca (open series) H: 2 1/2” (6 cm) D: 9 1/4” (23 cm)
Leon Gallery
Feb. 18, 2023
Pacita Abad (1946 - 2004)
Est: ₱700,000 - ₱910,000
Pacita Abad (1946 - 2004) Beata signed and dated 1982 (lower right) oil on canvas 36" x 24" (91 cm x 61 cm) EXHIBITED: Cultural Center of the Philippines Small Gallery, Paintings of People and Landscapes of Batanes, Curated by Ray Albano, Manila, February 22 - March 17, 1985 LITERATURE: Fanega, Buddy. "A deeply personal, expressionist style." The Economic Monitor. May 1, 1985. Accessed online at https:// pacitaabad.com/usr/documents/press/download_url/163/galleryhopping-may-1985-by-buddy-fanega.pdf Painted in 1982, this oil on canvas work by Pacita Abad is among the rare portraits done by Abad. Titled Beata, the piece was painted at the ancestral home of Abad’s late grandfather, the former Gov. Bernardo Barsana in their home province of Batanes. The work itself features the late Segundina Senna Vasol, a native of Ivana, Batanes, as her muse. She is depicted smoking a cigar and wearing the ‘vakul,’ the traditional straw headgear worn by Ivatan women, particularly farmers, to protect them from the rain and sun. Eventually, Beata would become Abad’s centerpiece for her seminal solo exhibition titled “Scenes from Batanes” which was mounted at the Cultural Center of the Philippines and curated by Ray Albano. Exhibited at the CCP’s Small Gallery, “Scenes from Batanes” was Abad’s seventeenth solo exhibition that proved to be a unique experience as the works featured would come to be some of the only landscape and portraiture works by the artist. In the exhibit, viewers are transported into the lush home island of Abad; an experience that, during the time, was rare even for Filipinos. The paintings, which feature the huts, sceneries, and people of Batanes, don’t only allow audiences to view and imagine the day-to-day life of the island locals, but also contain within them a psychological aspect. One that hints towards the inner workings of Abad’s subjects. Such an approach effectively humanizes Abad’s elements, elevating them to something beyond merely figures on a canvas. During her active years, Abad spent a majority of her time learning and adopting various artistic traditions from all over the world. She then utilized these techniques not only as a way of improving upon her works, but as a medium for creating works that are truly diverse and global. This unique approach earned Pacita acclaim and recognition throughout the world as her practice sought to bring together previously isolated and distant cultures. (J.D.)
Leon Gallery
Dec. 03, 2022
Pacita Abad (1946 - 2004) Mahatao
Est: ₱800,000 - ₱1,040,000
Mahatao signed and dated 1984 (lower right) oil on canvas 36" x 50" (91 cm x 127 cm) León Gallery wishes to thank Jack and Kristiyani Garrity for confirming the authenticity of this lot PROVENANCE Acquired directly from the artist EXHIBITED Cultural Center of the Philippines Small Gallery, Paintings of People and Landscapes of Batanes, Curated by Ray Albano, Manila, February 22 - March 17, 1985 The revered Filipino artist Pacita Abad continues to be one of the most accomplished voices for Filipino art in the international scene. During her active years, Abad spent a majority of her time learning and adopting various artistic traditions from all over the world. She then utilized these techniques not only as a way of improving upon her works, but as a medium for creating works that are truly diverse and global. This unique approach earned Pacita acclaim and recognition throughout the world as her practice sought to bring together previously isolated and distant cultures. Despite her international approach to art, Abad never forgot her own Filipino heritage. This particular Untitled piece is emblematic of Abad’s interest in the rich culture of her motherland, specifically of her birthplace of Batanes and of its local peoples the Ivatan. According to Abad’s estate “You can see on the back of the painting Pacita wrote the old title ’The Dumpster’, from her earlier Bangladesh series. 'The Dumpster’ (shown below) was part of a solo exhibition titled Paintings of Bangladesh by Pacita Abad, at Augusta Savage Gallery New Africa House, University of Massachusetts, Amherst, MA, March 9-27, 1981. When Pacita was busy preparing for her Batanes exhibition at the CCP in 1985 she ran out of canvas, so she decided to paint over her earlier painting to create 'Mahatao'. This was not the first, nor the last time that she repurposed her earlier artworks, as she continued this practice throughout her painting career.”
Leon Gallery
Sep. 10, 2022
Pacita Abad (1946 - 2004) - Lifesavers
Est: ₱300,000 - ₱390,000
Pacita Abad (1946 - 2004) Lifesavers signed and dated 1987 (lower right) acrylic and oil on canvas, embroidered mirrors and trapuntoe d 33" x 34" (84 cm x 86 cm) León Gallery wishes to thank Mr. and Mrs. Jack and Kristiyani Garrity for confirming the authenticity of this lot Lifesavers was among the more than 50 small-scale trapunto paintings exhibited at Pacita Abad's 1991 homecoming exhibition simultaneously held at The Luz Gallery and the Ayala Museum in Makati. According to Jack Garrity, Abad created this piece in Washington, D.C., where she settled from 1986 to 1991. In an interview with Maria V. Garin and published in the March 3, 1991 issue of the Sunday Globe, Abad referred to the American capital as a "very cosmopolitan place with multinational artists and international people…a better place for a Filipina artist to be in than…New York." "Washington is a beautiful place with lots of museums and galleries and a better chance for you to meet other artists," Abad adds. During her Washington period, Abad was highly active in the international art scene. She represented the Philippines in various exhibitions, such as 'La Bienal de la Habana' in Cuba (1986); UNESCO's 40th-anniversary celebrations with a traveling show in fifteen museums in Europe and Asia (1987); and the 'International Art Show for the End of World Hunger' in Europe (1988-1989). Abad also received awards from the National Endowment for the Arts as a visual arts fellow for 1990; the District of Columbia Commission on the Arts and Humanities as a visual arts grantee for 1989 and 1990; and the New York State Council on the Arts as a visiting artist. At her Washington studio, all the walls were covered with trapuntos and the floor with acrylic. She usually worked on five pieces simultaneously. "You should see my house in Washington; there is not a single square inch of white left," exclaims Abad in an article by Rachel P. Mayo published in the February 14, 1991 issue of The Manila Times. Abad characterized the works in her homecoming show as non-representational. She reveals to the Sunday Globe: "There's really no particular theme. It's nonrepresentational. It just happened...I like it better that way because then the work comes on stronger. It's just wild, colorful, and spontaneous." In those trapuntos, Abad employs a wide variety of materials, including glass, gold threads, beads, shells, embroidery, fabrics, buttons, and of course, tiny mirrors, as with the case of the trapunto at hand. She paints, cuts, silk screens, glues, and sews objects to the trapuntos to achieve a textural quality akin to a threedimensional relief. Ma. Preciosa L. Sibulo writes in her February 6, 1991 article on BusinessWorld: "Abad said most of the paintings were studies for bigger works, but as she was working on these 'studies,' she became so engrossed that she decided to have a show." Abad describes the works in the exhibit in Anjie Blardony Ureta's article in the January 31, 1991 issue of the Malaya newspaper: "Well, this time, it's even wilder! When people ask me what's new in this exhibit, I tell them: First, they are comparatively smaller in size, and second, these ones are really outrageous. If I go beyond this, I'll be painting the walls! I want the paintings to look like they're stretching out as far as the edges of the frame…And I'd love to see people turning the frames over to see if there's more at the back." (A.M.)
Leon Gallery
Sep. 10, 2022
Pacita Abad (1946 - 2004) - Red Roofs
Est: ₱300,000 - ₱390,000
Pacita Abad (1946 - 2004) Red Roofs signed and dated 1984 (lower right) acrylic and black ink on handmade paper 12 1/4" x 25" (31 cm x 64 cm) León Gallery wishes to thank Mr. and Mrs. Jack and Kristiyani Garrity for confirming the authenticity of this lot Pacita Abad’s designation as undoubtedly the most well-known and lauded Filipino international artist is not without basis. Ever since Abad started dabbling in the arts in the 1970s, her practice rarely remained singular or stagnant. Instead, Abad was always looking for new ways to express her vision through groundbreaking and innovative experimentations in medium, subject matter, and presentation. Though she originally created works that reflected a Social Realist style that dove into the complex cultural, social, and historical underpinnings of the time, her sojourn to the United States eventually opened up the plethora of possibilities for her and her art. She then began to experiment with more abstract styles and forms, an interest that would eventually lead her to venture into using non-traditional materials and ephemera as a way of executing her vision. Her works would end up incorporating hand-stitched textiles, ribbons, sequins, beads, buttons, tin, mirrors and many other found objects the artist collected during her travels throughout Africa, Middle East, Asia and Latin America. This particular piece was one of the initial ink paperworks that Pacita did as part of her Oriental Abstractions series based on her ink brush study in Seoul, Korea in 1984. Lifesavers was also shown as part of Pacita’s 'Wild at Art’ exhibition at the Luz Gallery in 1991. The work can also be seen as a representation of how Abad’s iconic style, that features an amalgamation and celebration of different forms, remains effective and engaging no matter the medium or approach. (J.D.)
Leon Gallery
Jul. 29, 2022
Pacita’s Painted Bridge by Pacita Abad
Est: ₱2,000 - ₱2,600
Pacita’s Painted Bridge by Pacita Abad photographs by Michael Liew
Leon Gallery
Jul. 29, 2022
Pacita Abad (1946 - 2004)
Est: ₱8,000 - ₱10,400
Pacita Abad (1946 - 2004) Filipina: A Racial Identity Crisis, 1992 lithograph with pulp-painted chine-collé and metallic powder edition of 40 43” × 30” (109 cm × 76 cm) EXHIBITED Bronx Museum of the Arts, Talk Back! The Community Responds to the Permanent Collection, Part II, New York, March 28 - June 22, 1997
Leon Gallery
Jun. 11, 2022
Pacita Abad (1946 - 2004)
Est: ₱400,000 - ₱520,000
Pacita Abad (1946 - 2004) Antareja and Arimbi signed (lower right) dated 1995 oil on padded canvas, stitched with sequins, rhinestones, buttons, pearls, beads, mirrors, tie dye silk and cotton León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot Through this 1983 titled Antareja and Arimbi, Abad effectively develops a uniquely asian and oriental aesthetic philosophy through a revitalized approach of traditional techniques and materials. The work is part of Abad’s Wayang Kulit series that drew inspiration from different mythological texts often depicted in traditional Indonesian Wayang theatre, such as the Ramayana and the Mahabharata, while utilizing the traditional Indonesian practice of batik weaving. The work features two traditional Wayang characters found in the Javanese version of the Mahabharata, Arimbi, a mythological demon, and Antareja, a king and fierce general who embodies the distinct culture of the Javanese people given that the figure is not found in the original Indian iteration of the Mahabharata, but in the version recorded and passed down by Javanese poets. The work itself features the traditional facets of batik weaving through its use of sequins, buttons, rhinestones, pearls, and beads, on silk and cotton fabric. As arguably one of the most well-known and influential Filipino artists on the world stage, visual artist and painter Pacita Abad’s oeuvres have proved themselves, time and time again, as not only mere paintings or works of art, but sweeping odes and hymns to the vitality, mystery, and diversity of human life and experience. Her thirty-year painting career began when she traveled to the United States to study law in San Francisco. It was there that she decided to switch careers and dedicate her life to painting. Since then Pacita never stopped being a gypsy and painted the globe while working on six different continents and traveling to more than fifty countries. Abad made history as the first woman to receive the Philippines’ prestigious Ten Outstanding Young Men award. (J.D.)
Leon Gallery
Jun. 11, 2022
Pacita Abad (1946 - 2004)
Est: ₱300,000 - ₱390,000
Pacita Abad (1946 - 2004) Tevan Galano (Batanes Series) signed and dated 1982 (lower right) oil on canvas 33 1/2" x 33 1/2" (85 cm x 85 cm) PROPERTY FROM THE JEANNIE JAVELOSA COLLECTION León Gallery wishes to thank Mr. and Mrs. Jack Garrity for confirming the authenticity of this lot EXHIBITED: Cultural Center of the Philippines Small Gallery, Paintings of People and Landscapes of Batanes, Curated by Ray Albano, Manila, February 22 - March 17, 1985 LITERATURE: Fanega, Buddy. "A deeply personal, expressionist style." Gallery Hopping. May 1, 1985. Accessed online at https://pacitaabad.com/usr/documents/press/ download_url/163/gallery-hopping-may-1985-by-buddy-fanega.pdf The revered Filipino artist Pacita Abad continues to be one of the most accomplished voices for Filipino art in the international scene. During her active years, Abad spent a majority of her time learning and adopting various artistic traditions from all over the world. She then utilized these techniques not only as a way of improving upon her works, but as a medium for creating works that are truly diverse and global. This unique approach earned Pacita acclaim and recognition throughout the world as her practice sought to bring together previously isolated and distant cultures. Despite her international approach to art, Abad never forgot her own Filipino heritage. This particular Untitled piece is emblematic of Abad’s interest in the rich culture of her motherland, specifically of her birthplace of Batanes and of its local peoples the Ivatan. The work itself was part of her seventeenth solo exhibit titled Paintings of People and Landscapes of Batanes which was mounted at the Cultural Center of the Philippines in 1985. The works, as the title suggests, transport its viewers to the lush isles of Batanes, effectively showcasing the distinct and unique culture of the Philippines’ northernmost region. But aside from acting as idyllic windows into the charm Abad’s hometown, her works also gateways into the characters that populate the islands. In an article about the exhibit, the art critic Buddy Fanega writes “In a deeply Expressionist style, the artist did here straight portraiture, improved at times by a conscious desire to infuse psychological insights. The results bespeak Pacita’s admiration for these appealing and venerable islanders.” (J.D.)
Leon Gallery
Apr. 23, 2022
Pacita Abad (1946 - 2004) - Gotta Art Out
Est: ₱50,000 - ₱65,000
Pacita Abad (1946 - 2004) Gotta Art Out signed (lower right) and dated 1998 (verso) oil on canvas without frame:12” x 12” (30 cm x 30 cm) with frame: 20” x 20” (51 cm x 51 cm)
Leon Gallery
Apr. 23, 2022
Pacita Abad (1946 - 2004) - We Have Moved
Est: ₱50,000 - ₱65,000
Pacita Abad (1946 - 2004) We Have Moved signed (lower right) and dated 1998 (verso) oil on canvas without frame:12” x 12” (30 cm x 30 cm) with frame: 20 1/2” x 20 1/2” (52 cm x 52 cm)
Leon Gallery
Apr. 23, 2022
Pacita Abad (1946 - 2004) - She Got the Blues
Est: ₱25,000 - ₱32,500
Pacita Abad (1946 - 2004) She Got the Blues signed (lower right) oil, broken glass stitched on canvas 6” x 6” (15 cm x 15 cm) with frame: 18” x 18” (46 cm x 46 cm)
Leon Gallery
Mar. 12, 2022
Techno-color Dreams
Est: ₱750,000 - ₱800,000
Pacita Abad (1946 - 2004) Techno-color Dreams Signed (lower right). Dated '2004' on label verso Acrylic, painted cardboard, glitter, fabrics collaged on handmade paper 135 x 72 cm (53 x 28 in) A Galleria Duemila Inc. label is affixed at the back of the frame, A Galleria Duemila Inc. label is affixed at the back of the frame, COP-9253, Abad, Pacita, Techno-color Dreams, 135 (h) x 72 (w), 53.19 (h) x 28.368 (w), 4.4325 (h) x 2.364 (w) x 0 (d), Acrylic, painted cardboard, glitter, fabrics collaged on handmade paper, 2004
Salcedo Auctions
Mar. 12, 2022
Pop Art
Est: ₱450,000 - ₱500,000
Pacita Abad (1946 - 2004) Pop Art Signed (lower right). Dated '2003' on label verso Oil, fabrics, batik, acrylic, pastel, sequins on handmade paper 57 x 77 cm (22 1/2 x 30 1/4 in) A Galleria Duemila Inc. label is affixed at the back of the frame, COP-9221, Abad, Pacita, Pop Art, 57 (h) x 77 (w), 22.458 (h) x 30.338 (w), 1.8715 (h) x 2.528167 (w) x 0 (d), Oil, fabrics, batik, acrylic, pastel, sequins on handmade paper, 2003
Salcedo Auctions
Mar. 05, 2022
Pacita Abad (1946 - 2004) - Oh Happy Days
Est: ₱360,000 - ₱468,000
Oh Happy Days signed and dated 2003 (lower right) edition of 4/6 stencilled, hand-coloured pressed paper pulp 66" x 52" (168 cm x 132 cm) Accompanied by a certificate issued by Galleria Duemila, Inc. confirming the authenticity of this lot PROVENANCE: Singapore Tyler Print Institute EXHIBITED: Singapore Tyler Print Institute, Pacita Abad: Circles in My Mind, Singapore, October 31, 2003 - January 25, 2004 Cultural Center of the Philippines, Pacita Abad: Circles in My Mind, Pasay, September 9 - October 31, 2004 Singapore Management University School of Economics, Pacita Abad Gallery at Singapore Management University, Singapore, October 5, 2005 - December 31, 2020 LITERATURE: Abad, Pacita and Cid Reyes. Pacita Abad: Circles in My Mind (Prints and Paper Pulp Works). Singapore Tyler Print Institute. Singapore. 2003. p. 8. Though Abad originally adopted a relatively figurative style to her practice, it wasn’t until her exposure to different forms of global art that her practice truly blossomed to what we celebrate today. Aside from her move to San Francisco, which opened up a young Pacita to the world of art, Pacita’s trip across multiple nations and countries such Turkey, Iran, Afghanistan, Pakistan, India, Sri Lanka, Myanmar, Thailand, Laos, Taiwan and Hong Kong drastically changed her life and plans, as she decided to pursue the arts rather than law. Through her travels, she learned various disciplines and techniques such as Indonesian batik-making, African tie-dyeing, Korean ink-brush painting. She was then able to apply these techniques that are just as multifaceted as her experiences. This particular piece titled Oh Happy Days is emblematic of her widelyregarded and critically acclaimed practice, which are often attributed to her richly colored paintings, textile collages, and mixed-media assemblages. This mixed media piece seemingly stems primarily from Abad’s own experiences. It features an amalgamation of different items, objects, forms, and figures, relating to the viewer the subjects of interest that Abad herself has regarded as pivotal throughout her career. It is a piece that expresses the pure bliss and emancipation that art has relegated to Abad’s life, as well as the possibility of art holds for other individuals.
Leon Gallery
Mar. 04, 2022
Pacita Abad (Filipino/American 1946-2004), Wild Bird of Paradise, Mixed Media on Canvas, 84 x 60 in
Est: $15,000 - $25,000
Pacita Abad (Filipino/American, 1946-2004) Wild Bird of Paradise Signed Pacita l.r.; also signed, titled and dated on verso Mixed media on canvas
Weschler's
Jan. 28, 2022
Pacita Abad: Wayang, Irian and Sumba
Est: ₱1,000 - ₱1,300
Pacita Abad: Wayang, Irian and Sumba hardcover
Leon Gallery
Oct. 16, 2021
Pacita Abad (1946 - 2004) Heliconia
Est: ₱80,000 - ₱104,000
Pacita Abad (1946 - 2004) Heliconia signed and dated 1996 (lower right) oil on canvas 19 1/2” x 15 1/2” (50 cm x 39 cm)
Leon Gallery
Oct. 16, 2021
Pacita Abad (1946 - 2004) Yellow Bird
Est: ₱80,000 - ₱104,000
Pacita Abad (1946 - 2004) Yellow Bird signed and dated 1993 (lower right) acrylic on canvas 19 1/2” x 15 1/2” (50 cm x 39 cm)
Leon Gallery
Jul. 16, 2021
Pacita Abad (1946 - 2004) - Confetti
Est: ₱50,000 - ₱65,000
Pacita Abad (1946 - 2004) Confetti signed and dated 1990 (lower right) oil on canvas 14 1/2” x 19” (37 cm x 48 cm)
Leon Gallery
Jul. 16, 2021
Pacita Abad (1946 - 2004) - Good Time Buttons
Est: ₱50,000 - ₱65,000
Pacita Abad (1946 - 2004) Good Time Buttons signed (lower right) dated 1998 oil and glitter on canvas 20” x 16” (51 cm x 41 cm)
Leon Gallery
Jul. 16, 2021
Pacita Abad (1946 - 2004) - ... and Sixteen Followed
Est: ₱30,000 - ₱39,000
Pacita Abad (1946 - 2004) ... and Sixteen Followed signed (lower right) oil, broken glass stitched on canvas 6” x 6” (15 cm x 15 cm)
Leon Gallery
Jun. 05, 2021
Pacita Abad (1946 - 2004)
Est: ₱800,000 - ₱1,040,000
Pacita Abad (1946 - 2004) Rapture signed (lower right) and dated 1992 (verso) mixed media (tapestry) 83” x 57” (211 cm x 145 cm) Provenance: Private collection, Manila Literature: Findlay-Brown, Ian. Pacita Abad: Exploring the Spirit. National Gallery of Indonesia. Jakarta. 1996. p. 104 Exhibited: Thinking Big, Metropolitan Museum of Manila, June 15 - July 31, 1995" Exhibited: Thinking Big, Metropolitan Museum of Manila, June 15 - July 31, 1995 As undoubtedly one of the most well-known and influential Filipino artists on the world stage, visual artist and painter Pacita Abad’s oeuvres have proved themselves, time and time again, as not only mere paintings or works of art, but sweeping odes and hymns to the vitality, mystery, and diversity of human life and experience. Her thirty-year painting career began when she traveled to the United States to study law in San Francisco. It was there that she decided to switch careers and dedicate her life to painting. Since then Pacita never stopped being a gypsy and painted the globe while working on six different continents and traveling to more than fifty countries. Abad made history as the first woman to receive the Philippines’ prestigious Ten Outstanding Young Men award. This 1992 trapunto was one of Abad’s early advances into abstract art. Prior to this, she was creating mostly masks Tapestry of Life and representational subjects. Through this piece, Abad managed to revitalize a uniquely asian and oriental aesthetic philosophy with new and novel techniques and materials. Rapture is part of Abad’s monumental Asian Abstraction series that sought to combine Abad’s experience with traditional Korean brushwork and calligraphy, with her unique use of mixed media materials. The piece features a constellation of swirling colorful crescent-like elements seemingly converging at the work’s central focus—a concave rectangle rendered in a bright yellow hue. This emphasis on movement is seen as one of the core tenets of traditional Korean painting which itself emphasizes movement and the passage of time through directed shapes and brush techniques. Abad effectively brings this idea to life through a unique mix of materials such as acrylic paint, plastic buttons, mirrors, thread, and a padded canvas.
Leon Gallery
Jan. 23, 2021
Pacita Abad (1946 - 2004) Untitled
Est: ₱230,000 - ₱299,000
Pacita Abad (1946 - 2004) Untitled 48” x 28” (122 cm x 71 cm)
Leon Gallery
Jun. 20, 2020
Pacita Abad (1946 - 2004) - Untitled
Est: ₱300,000 - ₱390,000
Pacita Abad (1946 - 2004) Yellow Polyps signed and dated 1986 (lower right) trapunto and acrylic on canvas 72” x 20” (183 cm x 51 cm) Estimate USD $6000-$7800 Estimate Euros €5000-€6500
Leon Gallery
Nov. 24, 2019
PACITA ABAD (1946-2004) Endless Blues oil, painted cloth stitched on canvas 258 x 186 cm. (101 5/8 x 73 ¼ in.)
Est: $160,000 - $260,000
PACITA ABAD (1946-2004) Endless Blues signed 'Pacita' (lower right) oil, painted cloth stitched on canvas 258 x 186 cm. (101 5/8 x 73 ¼ in.) Executed in 2001
Christie's
Oct. 19, 2019
PACITA ABAD, Singapore
Est: ₱150,000 - ₱250,000
undated, oil on wood, 18 x 42 in (46 x 107 cm)
Finale Auctions
Oct. 06, 2019
PACITA ABAD | Seventeen Came
Est: $50,000 - $70,000
Oil and painted cloth stitched on padded canvas
Sotheby's
Sep. 21, 2019
PACITA ABAD (PHILIPPINES, 1946-2004) ALAMANDAS oil and painted cloth stitched on canvas 91.5 × 76 cm. (36 × 29 7/8 in.)
Est: ¥50,000 - ¥80,000
PACITA ABAD (PHILIPPINES, 1946-2004) ALAMANDAS oil and painted cloth stitched on canvas 91.5 × 76 cm. (36 × 29 7/8 in.) Painted in 2002
Christie's