Cesar Legaspi Sold at Auction Prices

b. 1917 - d. 1994

Filipino artist Cesar Legaspi, born in 1917, is well known for his Cubism-style paintings that unabashedly broach difficult social subjects and reveal the injustice of poverty. After studying at the University of the Philippines School of Fine Arts, painter Cesar Legaspi went on to study at the Parisian Academie Ranson under celebrated artist Henri Bernard Goetz. Legaspi then began his career as an art director before delving into full-time painting.

With paintings ranging from realistic portrayals of beggars and workers to abstract Modernist nude forms, artist Cesar Legaspi's work is celebrated in the art world, and is still preserved in the National Museum of the Philippines. Cesar Legaspi nude paintings for sale are an excellent example of his ability to use geometric forms to convey compelling social messages. Art appreciators can generate powerful discussions by viewing many contemporary nude paintings available online.

Read Full Artist Biography

0 Lots

Sort By:

Categories

        Auction Date

        Seller

        Seller Location

        Price Range

        to
        • PROPERTY FROM THE LORNA REVILLA MONTILLA COLLECTION Cesar Legaspi (1917 - 1994) & Nunelucio Alvarado (b. 1950)
          Oct. 26, 2024

          PROPERTY FROM THE LORNA REVILLA MONTILLA COLLECTION Cesar Legaspi (1917 - 1994) & Nunelucio Alvarado (b. 1950)

          Est: ₱20,000 - ₱26,000

          Cesar Legaspi (1917 - 1994) a.) Portrait signed and dated 1985 (lower right) graphite on paper 4 1/4" x 5 1/2" (11 cm x 14 cm) Nunelucio Alvarado (b. 1950) b.) Portrait signed and dated 1981 (lower right) pen and ink on paper 11" x 8 1/2" (28 cm x 22 cm)

          Leon Gallery
        • PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Cesar Legaspi (1917 - 1994)
          Oct. 26, 2024

          PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Cesar Legaspi (1917 - 1994)

          Est: ₱40,000 - ₱52,000

          Nude signed an dated 1979 (upper left) charcoal on paper 28 1/4" x 20 1/2" (74 cm x 52 cm)

          Leon Gallery
        • PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Cesar Legaspi (1917 - 1994)
          Oct. 26, 2024

          PROPERTY FROM THE DON J. ANTONIO ARANETA COLLECTION Cesar Legaspi (1917 - 1994)

          Est: ₱10,000 - ₱13,000

          Untitled signed and dated 1948 (lower right) graphite on paper 4 1/2" x 3 3/4" (11 cm x 10 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Oct. 26, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱175,000 - ₱227,500

          Untitled signed and dated 1971 (lower left) watercolor on paper 9" x 6 1/4" (23 cm x 16 cm)   Cesar Legaspi has already cemented his name in the art scene long before he was awarded the title of National Artist for Painting in 1990. Born in Manila, Legaspi studied commercial arts at the University of the Philippines School of Fine Arts. This was followed by a one-year scholarship from the Spanish Government in Madrid and further studies at the Academie Ranson in Paris under the tutelage of the French painter Henri Bernard Goetz. As one of the leading Filipino neo-realists, Cesar Legaspi is renowned for his cubist-inspired paintings that depict social injustice and the hardships faced by the working class. His paintings almost always center around poverty, disease, and suffering—always grim and melancholic. The artist’s use of earth tones and overlapping planes creates fragmented yet cohesive images that capture the essence of Filipinos’ struggle and resilience. Additionally, a distinctive feature of Legaspi’s work is his portrayal of nude figures, which he presents in a non-sexualized manner, focusing instead on their representational nature or just a purely abstract anatomy of human bodies. “Legaspi’s leitmotif is a concern for the disinherited, struggling to exist in a harsh world. The social content of his mural reflects the influence of the protest movements of the postwar period,” Alicia Coseteng writes in the book Art Philippines. (Jessica Magno)

          Leon Gallery
        • CESAR LEGASPI (1917-1994). The Wall. oil on canvas 76 x 60.6 cm. (29 7⁄8 x
          Sep. 27, 2024

          CESAR LEGASPI (1917-1994). The Wall. oil on canvas 76 x 60.6 cm. (29 7⁄8 x

          Est: $550,000 - $750,000

          CESAR LEGASPI (1917-1994). The Wall. oil on canvas 76 x 60.6 cm. (29 7⁄8 x 23 7⁄8 in.).

          Christie's
        • Cesar Legaspi (1917 - 1994) - Untitled (Figure Studies)
          Sep. 14, 2024

          Cesar Legaspi (1917 - 1994) - Untitled (Figure Studies)

          Est: ₱100,000 - ₱110,000

          Cesar Legaspi (1917 - 1994) Signed and dated '77' (1977, lower right) Charcoal on paper 35.5 x 51 cm (14 x 20 in)

          Salcedo Auctions
        • Cesar Legaspi (1917 - 1994) - Untitled
          Sep. 14, 2024

          Cesar Legaspi (1917 - 1994) - Untitled

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

          Cesar Legaspi (1917 - 1994) Signed and dated '71' (1971, lower right) Oil on wood 61 x 122 cm (24 x 48 in) Dennis K. Legaspi has graciously confirmed the authenticity of this artwork National Artist Cesar Legaspi was a leading figure in the rise of Neo-Realism in the Philippines, a movement that emerged after World War II and sought to push the boundaries of modernism in the local art scene. The movement explored the complexities of human experience, particularly the tensions and conflicts that shaped the post-war landscape. By the early 1970s, Legaspi had refined his technique, shifting towards abstraction while maintaining a connection to objective reality. This phase in his work is marked by a blend of organic unity and monumentality, where abstract forms convey a sense of tension and duality. His paintings from this period often approach abstraction, yet retain subtle references to reality that ground the viewer's experience. Characterized by cragginess and fragmentation, Legaspi's work during this era reflects his architectural-sculptural approach to form. His focus on the struggles of the disenfranchised and the harshness of existence underscores the social consciousness prevalent among artists at the time. The piece on offer, completed in 1971, exemplifies Legaspi's ability to transform complex, monumental forms into a cohesive and resonant whole. It captures his artistic vision during a period when he pushed the objective image towards abstraction, offering a powerful commentary on the human condition and the struggle between man and nature. This work embodies the depth and maturity of Legaspi's output during this defining phase of his career.

          Salcedo Auctions
        • Cesar Legaspi (1917 - 1994) - Three Torsos
          Sep. 14, 2024

          Cesar Legaspi (1917 - 1994) - Three Torsos

          Est: ₱2,200,000 - ₱2,860,000

          Three Torsos signed and dated 1969 (lower right) oil on masonite board 48” x 32” (122 cm x 81 cm) PROVENANCE: Private collection, Manila WRITE UP Solid Forms and Vibrant Colors Exemplar of Legaspi’s Cubist Genius Created on the eve of the year 1970 – the beginning of the decade that art critic Alice Guillermo says is also the beginning of Cesar Legaspi’s maturity in style – this 1969 work features his prismatic planes and broken figures that barely clung to the figurative reality from which Legaspi based them on.. One of the giants of Philippine modernism, Legaspi’s scrappy background as a commercial artist stood out amongst his fine arts-educated contemporaries. He was trained in penand-ink illustrations, making his red-green colorblindness (or deuteranopia) more bearable as he pursued his dream of the arts. 1969 also saw Legaspi one year after shedding his illustrator career, resigning from his post as the Vice President of Philprom in 1968 to focus on his painting full-time. However, he had been active in the art scene before that, meeting H.R. Ocampo in 1938 who urged Legaspi to pursue painting and even strongly influenced Legaspi’s art. The two of them fostered a lifelong friendship, bonded by their fascination and modernistic tendencies. Veering into Cubism in the ‘60s, this 1969 work bears the culmination of a decade’s worth of artistic endeavor. Objective reality is no longer the golden standard that an artist must achieve – instead, the neo-realistic element of distortion and fragmentation takes center stage. With conviction, Legaspi broke down the pictorial reality unhesitatingly, leaving only the curvy figure of a woman recognizable in the swirly, fragmented aftermath of his relentless abstraction. This deliberate preservation of the human body is a distinct element of a Legaspi canvas. From his early expressionist distortion to his cubist fragmentation, the human body is an exalted subject in Legaspi’s oeuvre, perhaps an artistic outlet as a response to the surgeries he had to undergo as a child. Contracting pneumonia when he was barely one year old, the young Legaspi was a regular patient at the Mary Chiles Hospital, a fact that scarred him both mentally and physically. “I think that even if I were to paint a completely abstract painting, I shall always be abstracting the human figure,” he said in Cid Reyes’s Conversations on Philippine Art. “I can never get away from the figure.” Indeed, despite Legaspi’s adherence to the harsh, unforgiving breakdown of Cubism, he can never seem to fully distort the human figure. Amidst his prismatic works, the human anatomy remains intact, a sense of reverence evident through his deliberate preservation of the body. Legaspi’s 1970s paintings show the artist’s full potential when it comes to harnessing the human body and this 1969 piece is the perfect starting point to trace its evolution. “The images of human anatomy in the paintings of Cesar Legaspi seemed to flower or were wretched from the core of his being,” Ditas R. Samson writes in the catalog Cesar Legaspi: A Brave Modern, published in conjunction with a retrospective exhibition in 2014. Indeed, Legaspi’s ability to break down objective reality into a subjective world, whether it be the human body or an inanimate object, creates a pictorial vision that is harshly beautiful. Under his masterful brush, Legaspi manages to transform his subjects into a fragmented masterpiece akin to that of a church’s stained glass windows, evoking a deep contemplation for his Cubist pieces. (Hannah Valiente)

          Leon Gallery
        • Collaboration of Hernando R. Ocampo (1911 - 1978) Cesar Legaspi (1917 - 1994) José Joya (1931 - 1995) - Interaction
          Sep. 14, 2024

          Collaboration of Hernando R. Ocampo (1911 - 1978) Cesar Legaspi (1917 - 1994) José Joya (1931 - 1995) - Interaction

          Est: ₱1,600,000 - ₱2,080,000

          Interaction signed and dated 1976 (lower right) oil on canvas 32” x 24” (81 cm x 61 cm) WRITE UP In July 1968, a band of artists who regularly met at the storied Taza de Oro Restaurant along scenic Roxas Boulevard in Ermita, Manila, founded the now iconic Saturday Group of Artists. For more than five decades, it has continued to be the Philippines’ premier group of artists. “In 1968, after retiring as senior vice president of Philprom, Inc., Nanding made it a habit of taking lunch at the Taza de Oro Restaurant,” writes Angel G. de Jesus in his Vignettes column on Business Day (August 4, 1977). “Alfredo (Ding) Roces and lawyer Antonio Quintos also used to go there at the same time, and they invited him to join them at their table. Other artists and writers joined them in their discussions on art and writing, and thus the Saturday Group was born.” If there’s one overarching reason why they still hold that distinction, it is that nine National Artists for the Visual Arts came from the storied group: Botong Francisco, Hernando Ocampo, Cesar Legaspi, Vicente Manansala, Arturo Luz, Jose Joya, Ang Kiukok, Federico Aguilar Alcuaz, and Benedicto Cabrera. Critic Leonidas V. Benesa describes in his article “The Saturday Group: Venus Observed,” published in the AAP Liham, the group’s typical bonding/creative sessions. “The sessions themselves take place in an art gallery or in the privacy of a home after meeting at the Ermita coffee shop for small talk, business talk, and, of course, coffee or tea together with the sweet-toothed trimmings as the Taza is famous for its pies and cakes. The gallery or residence usually provides a heavy merienda for the Group after the sketching sessions, and it is not unusual that the artists leave behind one of their best works in payment for the service.” Benesa adds: “The Group was already existing before 1972 the year martial law was declared. But it was only during the last three years that it became intensely active. Aside from its nude painting sessions, members of the Group would be painting works together in the spirit of interaction. This was how they used to raise money for their financial needs as a group, aside from personal contributions to the kitty.” The Saturday Group is noted for introducing the concept of “interaction” painting to the local art scene. In particular, one of its members, the eminent art critic and painter Alfredo Roces, is credited with introducing the concept of on-the-spot collective painting in 1969. Roces said in a 1974 interview that their interaction sessions work like a jazz group. “In a jazz group, members play a different instrument each, yet contribute to the harmony of the whole picture.” This 1976 interaction painting features three titans of Philippine art and future National Artists: Ocampo, Legaspi, and Joya. Ocampo first lays out the fluidity of his organic forms that characterize his Visual Melody Period, which was in full force at this time of his career. Legaspi then posits his trademark bold, “rocky” forms that evoke solidity and penetrating gestures that cut across the surface of the canvas. The earthy color palette dominated by saffron yellows is decisively the contribution of Joya, whose application of color comes off as raw and muted compared to Ocampo’s high-powered vibrancy and relative refinement. Nevertheless, both were master colorists in their own right. Joya’s earthy colors bestow balance to Ocampo’s gracefulness and Legaspi’s forcefulness, a stark contrast to their actual personalities. Ocampo and Legaspi had long been friends. They were the original neo-realists and two-thirds of the Philippine Art Gallery’s “Big Three” together with Manansala. During the post-war period, Ocampo would invite Legaspi to his office at the Kalaw Arcade, where they would discuss the pros and cons of the former’s recent paintings. Eventually, Legaspi would also take note of Ocampo’s erudite opinions and comments on his works. Ocampo, who is self-confessed about his lack of forte in drawing, looked up to Legaspi’s deeply rooted expertise in drawing that he acquired from his college training at the UP School of Fine Arts. “A rapport developed between them: Legaspi was diffident and modest, while Ocampo was self-confident and voluble. From then on, Legaspi would not exhibit his paintings without first showing them to Ocampo. Thus began a deep life-long friendship,” writes Purita Kalaw-Ledesma in her PAG monograph The Biggest Little Room. Ocampo and Legaspi’s friendship would continue until before the former’s passing when they and Manansala formed “The First Friday Group” in 1977. Ocampo and Legaspi both admired their junior, Joya. In a July 1984 interview with Cid Reyes, Legaspi said that “Lee Aguinaldo [and] Joya, in particular” were the younger artists whose works he was fond of. Joya around this time was serving as the Dean of the UP School of Fine Arts. Writes the catalog for the 1976 exhibition “Seven Plus Seven” held at Sining Kamalig: “For an artist, Joya maintains an unregimented but well-ordered lifestyle. He teaches and executes administrative duties as dean of the University of the Philippines' College of Fine Arts and Artistin-Residence. Yet, he stiII finds time to join the Saturday group sketching sessions every Saturday afternoon, he goes to art exhibits, he participates in civic projects, and adheres to a regular painting schedule. (Adrian Maranan)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jul. 27, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱70,000 - ₱91,000

          PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION Nude signed and dated 1971 (lower left) charcoal on paper 21 1/2" x 14 1/2" (55 cm x 37 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jul. 27, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱30,000 - ₱39,000

          Abstract signed and dated 1971 (lower right) pen and ink on paper 8 1/2" x 13" (22 cm x 33 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jul. 27, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱20,000 - ₱26,000

          a.) Abstract signed and dated 1972 (lower right) graphite on paper 3" x 4 3/4" (8 cm x 12 cm) b.) Abstract signed and dated 1971 (lower right) graphite on paper 3 1/2" x 5 1/2" (9 cm x 14 cm) paper size: 11" x 8 1/2" (28 cm x 22 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Apr. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱35,000 - ₱45,500

          PROPERTY FROM THE DR. VICTOR REYES COLLECTION Nude signed and dated 1977 (lower right) charcoal on paper 21" x 14 1/4" (53 cm x 36 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Apr. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱80,000 - ₱104,000

          PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION Nude signed and dated 1971 (lower left) charcoal on paper 21 1/2" x 14 1/2" (55 cm x 37 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Apr. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱25,000 - ₱32,500

          Nude signed and dated 1977 (lower right) pencil on paper  5" x 6 1/4" (13 cm x 16 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Apr. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱40,000 - ₱52,000

          Nude signed and dated 1977 (lower right) charcoal on paper 29" x 20" (74 cm x 51 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Apr. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱40,000 - ₱52,000

          Male Nude signed and dated 1985 (lower right) pastel on paper 22” x 14 1/2” (55 cm x 36 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Apr. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱40,000 - ₱52,000

          Nude signed and dated 1982 (upper right) pastel on paper 21 1/2" x 14 1/2" (55 cm x 37 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - Women in Ecstasy
          Mar. 09, 2024

          Cesar Legaspi (1917 - 1994) - Women in Ecstasy

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

          PROPERTY FROM THE DON EUGENIO “GENY” LOPEZ JR. COLLECTION Women in Ecstasy signed and dated 1978 (lower right) oil on marine plywood 32" x 48" (81 cm x 122 cm) PROVENANCE: Galleria Duemila WRITE UP: 1978 stands out as one of the most important years for Cesar Legaspi. In celebration of his four-decade-long career, he held Forty Years of Legaspi, a Retrospective Exhibition at the Museum of Philippine Art. In the same year, he served as the head of the Saturday Group of Artists, a post he held for 16 years until his death in 1994. Women in Ecstasy, created during this hallmark year, is emblematic of the creative trajectory Legaspi’s career took on. The Neo-Realistic element of distortion and fragmentation takes center stage. Objective reality no longer became the golden standard with which the artist must achieve – instead, it is only an undertone Legaspi imbues the piece with. The decade prior saw Legaspi’s swerve to abstraction and his realization of the style was met in the 1970s, coinciding with his 40th artistic anniversary. Women in Ecstasy showcases his masterful deconstruction of human anatomy. Though he depicted multiple nude women, sensuality and eroticism were barely touched upon. Instead, the earthy palette and composition imply collective support and resistance. These women, bare and naked, lean on each other in vulnerability. Legaspi has harnessed the ability to break down objective reality into a subjective world based on the artist’s inner visions. Under his masterful brush, Legaspi manages to transform his subjects (often of the toiling masses and the collective community) into a fragmented masterpiece akin to that of a church’s stained glass windows, evoking a deep contemplation for his Cubist pieces. (Hannah Valiente)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - Crucifixion
          Mar. 09, 2024

          Cesar Legaspi (1917 - 1994) - Crucifixion

          Est: ₱4,400,000 - ₱5,720,000

          Crucifixion signed and dated 1956 (lower right) oil on masonite board 40" x 48" (102 cm x 122 cm) PROVENANCE Philippine Art Gallery Christie's, 20th Century Art Day Sale, Hong Kong, December 1, 2022, Lot 228 EXHIBITED Philippine Art Gallery, Annual Christmas Group Show, Manila, December 20 - December 26, 1958 WRITE UP: Amonumental work from one of the Philippine Art Gallery's "Big Three" (the others being H.R. Ocampo and Manansala), Legaspi's Crucifixion would be featured in the PAG's year-end Annual Christmas Group Show from December 20 to 26, 1958, alongside works by Luz, Ang Kiukok, Joya, Magsaysay-Ho, Elizalde Navarro, and Malang. Legaspi's choice of subject matter seemingly clashes yet inherently harmonizes with the time of the exhibition: the joyous Christmas season. At first glance, one may deem the subject of Christ's crucifixion incompatible with Christmas. But delving into Legaspi's neo-realist, expressionist impulses, the artist heralds that right from the start, the birth of Christ had already signaled an imminent sacrifice for the redemption of humanity—that there exists an underlying horror in Christ's nativity. The overall composition is somber and melancholic, a juxtaposition between two "silent nights": the infant Jesus cradled in His manger and the "Messiah" Jesus dying in harrowing pain from thorns and nails, crucified among thieves while a wailing Mother and grieving disciples forsakenly accept the will of the Divine. Crucifixion is characterized by a "rocky" and jagged texture emphasized by sharp angles and austere, monochromatic, and stratified geometric forms. The piece exemplifies Legaspi's artistic maturation. No longer was he trying to steer towards a Botong-like style, whom he considered a luminary in the earlier phases of his career. Instead, Legaspi weds an expressionist, rugged distortion inspired by a stone quarry adjacent to their house at Horseshoe Drive, Quezon City (to which they had moved in 1947) and a Cubist configuration inspired by Manansala, who, in 1951, had returned from his nine-month study at the University of Paris' Ecole des Beaux-Arts under the mentorship of the 71 Cesar Legaspi (1917 - 1994) Crucifixion signed and dated 1956 (lower right) oil on masonite board 40" x 48" (102 cm x 122 cm) P 4,400,000 PROVENANCE Philippine Art Gallery Christie's, 20th Century Art Day Sale, Hong Kong, December 1, 2022, Lot 228 EXHIBITED Philippine Art Gallery, Annual Christmas Group Show, Manila, December 20 - December 26, 1958 Philippine Art Gallery catalogue tag for "Crucifixion" French cubist Fernand Leger. Of Manansala's influence on Legaspi, Alfredo Roces writes in the book Legaspi: The Making of a National Artist: "...on his return to Manila in August 1951, he was brimming with theories on cubism with which he regaled his circle of artist friends. Legaspi was one of those keenly receptive to Manansala's stories about museums, artists, painting techniques, methods, and trends." The overall result is a work that exudes sheer intensity in evoking a sorrowful scene. There is also an inherent claustrophobic feel in this particular piece. Does it allude to Legaspi's eight-day harrowing incarceration and interrogation by the Japanese Kempeitai in October 1944 on the grounds of mistaken identity? "I still shudder at the memory and can hear the almost mellifluous screams of those being treated to the water cure, see the seventy-year man staggering back from the interrogation room…Great fear and horror are, I suppose, part of the maturing and deepening process…I never prayed as hard as that. Every time I am in a tight spot, I pray," says Legaspi in the catalog for his 1978 retrospective at the Museum of Philippine Art. After all, the piece exudes the neo-realist propensity for fragmenting a romanticized reality—shattering the tranquil hallowedness of Christmas and harking back to that fateful Christmas season of 1941, in which "peace" and "normalcy" would never come back again, where everyone would be left scrambling and fending for themselves amid a full-blown crisis and destruction, both in the physical and moral sense. And with that, Cesar Legaspi's sheer maturation as a painter would result from a traumatizing devastation. (Adrian Maranan)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - Women
          Mar. 09, 2024

          Cesar Legaspi (1917 - 1994) - Women

          Est: ₱1,200,000 - ₱1,560,000

          Women signed and dated 1970 (lower right) oil on wood 28" x 39" (71 cm x 99 cm) PROVENANCE Private collection, Manila WRITE UP: Cesar Legaspi is a major figure in the history of Philippine modernism. Following the tragedy of the Second World War, Legaspi was among the young artists that took up the mantle and shook the Philippine art scene with their unorthodox styles and a disregard for traditions. In his confrère, which included giants of modernism like H.R. Ocampo and Vicente Manansala among others, Legaspi stood out with his background in commercial art rather than fine arts. He was trained in pen and ink illustrations, a fact that made his deuteranopia or red-green color blindness more bearable in his line of work. He ran in the circles of illustrious artists and created a spattering of paintings but it wasn’t until he decided to seriously pursue art in 1968 – the year he resigned from his post as the art director for the advertising company Philprom. Created in 1970 – the decade that art critic Alice Guillermo noted as the maturity of his style – the lot at hand displays Legaspi’s prismatic effects in full display. His expected composition directs the viewers to the focal point of the canvas: the three women occupying the right side. His attention to detail is shown most obviously in regards to his anatomy. The women, naked as their name day, were metamorphosed into a chromatic, almost abstract field with their torso vague abstractions of a body instead of a faithful rendition. The human body is a distinct element in a Legaspi canvas, impressionable and visceral. They occupy a good portion of his oeuvre, and for good reason. “I think that even if I were to paint a completely abstract painting, I shall always be abstracting the human figure,” he once said. “I can never get away from the figure.” (Hannah Valiente)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jan. 20, 2024

          Cesar Legaspi (1917 - 1994)

          Est: ₱40,000 - ₱52,000

          a.) Serena Gundy Park, Toronto, Ontario handsigned and dated 1979 (lower right) print 109/250 11 1/2" x 11 1/2" (29 cm x 29 cm) b.) Luxembourg Gardens, Paris handsigned and dated 1979 (lower right) print 109/250 11 1/2" x 11 1/2" (29 cm x 29 cm) c.) Niagara, Ontario, Canada handsigned and dated 1979 (lower right) print 109/250 11 1/2" x 11 1/2" (29 cm x 29 cm) d.) Mystic Seaport Course, USA handsigned and dated 1979 (lower right) print 109/250 11 1/2" x 11 1/2" (29 cm x 29 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - a) Untitled b) Untitled
          Dec. 02, 2023

          Cesar Legaspi (1917 - 1994) - a) Untitled b) Untitled

          Est: ₱200,000 - ₱260,000

          PROPERTY FROM THE DR. EDILBERTO B. BRAVO COLLECTION a) Untitled b) Untitled signed and dated 1962 (lower right) watercolor on paper 12” x 19 1/2” (30 cm x 50 cm) each WRITE UPFilipino artist Cesar Legaspi’s Cubaninspired oeuvre explores issues of social injustice. With a powerfully intense form, Legaspi narrates the plight of the working class with a passion. His early works, as described by his contemporary and fellow Thirteen Modern Hernando Ocampo, are “depictions of anguish and dehumanization of beggars and laborers in the city.” In this 1962 collection of works, Legaspi dramatizes in his distinctive style scenes from the Philippine-American War. In the first painting, a man who looks like the first Philippine president Emilio Aguinaldo has a knife pointed against what looks like an American soldier. Behind him was another figure beating someone up. Despite the violence the painting suggests, there is a karmic serenity within it, with the monochromatic color palette making the work look like a long-forgotten snapshot of the war. The second painting has the same monochrome blue the first one had – however, instead of a close-up shot of violence, this second painting depicts a soldier on a boat, mouth aghast as he points to the shore where fireworks fly above the beach. The painting suggests a losing side of the war seeing the winner’s celebration in a far-off beach. This collection shows Legaspi at his element – he may be a seasoned traveler, journeying from China to the United States to Europe, but he always comes back. “Legaspi’s works are imbued with a singularly Filipino sensitivity,” the National Artist Award citation says of Legaspi. “[His] hero is invariably Filipino. His universe, the Philippines. By firmly planting his artistic roots in his native land, Legaspi has provided a mirror for the collective souls of the nation.” (Hannah Valiente)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - Portrait of Alona Alegre
          Dec. 02, 2023

          Cesar Legaspi (1917 - 1994) - Portrait of Alona Alegre

          Est: ₱800,000 - ₱1,040,000

          Portrait of Alona Alegre signed and dated 1971 (lower left) oil on wood panel 26” x 20” (66 cm x 51 cm) WRITE UPAlona Alegre, born Maria Lourdes Jalandoni Salvador (January 1, 1948 - December 9, 2018), was a Filipino movie actress. She was born to stage and film producer Lou Salvador and LVN Pictures actress Inday Jalandoni. Descending from the prominent Salvador clan in Philippine show business, Alona was a sister to actor, director, and politician Leroy Salvador and threetime FAMAS award-winning actor Philip Salvador. She was also a half-aunt to award-winning actress Maja Salvador. Alegre debuted on the silver screen as a child actress through the LVN-produced 1955 film Tagapagmana. Since then, she has starred in more than 40 films, including Nardong Putik (1972), Pepeng Agimat (1973), the Eddie Romero-directed Black Mama White Mama (1973), Alyas Pusa: Ang Taong May 13 Buhay (1988), and the VIVA Films-produced Campus Girls (1995) led by an ensemble of ‘90s stars Vina Morales, Donna Cruz, Donita Rose, and Geneva Cruz. Alegre was one of the most sought-after sexy actresses during the 1970s; she was the leading lady to “King of Philippine Movies” Fernando Poe, Jr., in the 1973 action film Esteban. The Alona Beach in Panglao, Bohol, was named after her as she was always seen swimming in its pristine waters and strolling on its fine, white sands while she was shooting Esteban with FPJ (she even ran naked along the beach for the film). Until now, Alegre Beach continues to attract visitors and is one of the top-rated beaches in Bohol, offering numerous excursions with nature, including scubadiving and snorkeling. (Adrian Maranan)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - Dancing Nudes
          Dec. 02, 2023

          Cesar Legaspi (1917 - 1994) - Dancing Nudes

          Est: ₱1,400,000 - ₱1,820,000

          Dancing Nudes signed and dated 1976 (lower right) oil on wood panel 41” x 27” (104 cm x 69 cm) PROVENANCE Private collection Manila WRITE UPBy 1968, Legaspi had resigned from his responsibilities as the art director of the advertising company Philprom. Before his resignation, Legaspi had only time to focus on painting on weekends or even after office hours. But by the late 1960s, coinciding with his relinquishment of his commercial art duties, Legaspi’s full-fledged artistic flowering had begun to transpire. The decade of the 1960s saw Legaspi slowly veering towards abstraction, in which the subject palpably merges with its (frenzied) setting, evoking agitation and contradiction. Although still in the cubist style, Legaspi’s art evolved to an idiom characterized by “rhythmic curvilinear line and planes in contrast to the angularity of his original style [of the 1940s and the 1950s],” as the eminent art critic Alice Guillermo writes in her essay The History and Current Situation of Modern Art in the Philippines. However, the 1970s saw Legaspi’s full artistic maturation. Guillermo notes in the same essay: “From 1974, his paintings became more chromatic; layers of transparent passages create prismatic effects. Figures dynamically cut through space in gestural movements. Light enhances color and form or dematerializes and dissolves them into airy transparencies creating resonances in space.” This quality is evoked in the 1976 work at hand depicting three nude figures seemingly dancing and reveling in harmony amid a setting characterized by a chaotic assemblage of irregular geometric forms. The subject is a quintessential one for Legaspi during the 1970s up to the 1980s. Of this, Guillermo writes: “Through the Seventies and Eighties, Legaspi produced paintings dealing with universal human themes…These large, heroic canvases convey the surging, straining movements of human beings in aspiration, struggle, and triumph done in his dynamic style. The human figure in its well-articulated muscular and structural frame becomes an eloquent vehicle for expression, while a tension ensues between organic form and geometric structure, transparency, and solidity, the flexible and the inexorable.” “In 1976, he did a number of multi-layered paintings on wood panels to give actual depth and shadows to the illusion of spatial movement,” Guillermo concludes. While the seemingly airy, diaphanous quality of this particular piece exudes an ethereal atmosphere and gives credence to the illusion of movement that is subtle and graceful, a sense of tension is evoked through the chaotic irregularity of the geometric forms in the background. Yet, Legaspi’s application of earthy tones, particularly to the human figures, remains suggestive of a sense of strength and resilience in the midst of turbulence. A greater appreciation of this work can be discerned when contextualized into the grim social conditions of its period: the tumultuous seventies characterized by the hegemony of martial rule and the dictatorship. The three figures seemingly form a coherent whole, struggling and “dancing their way up” to an inviolable showcase of solidarity in the face of an oppressive socio-political order. The work then harks back to Legaspi’s neo-realist beginnings: social commentaries concerning the masses as victims of systemic oppression. (Adrian Maranan

          Leon Gallery
        • Cesar Legaspi (1917-1994)
          Oct. 21, 2023

          Cesar Legaspi (1917-1994)

          Est: ₱40,000 - ₱52,000

          Nude signed and dated 1978 (lower right) charcoal on paper 21 1/4” x 14 3/4” (54 cm x 37 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Oct. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱80,000 - ₱104,000

          Landscape signed and dated 1981 (upper right) oil on canvas 7” x 11” (18 cm x 28 cm) PROVENANCE Archivo 1984

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Oct. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱10,000 - ₱13,000

          Great wall signed and dated 1979 (lower right) print 10” x 14 1/2” (25 cm x 37 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Oct. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱20,000 - ₱26,000

          Urban Residential signed (lower right) graphite on paper 3 1/4” x 2 3/4” (8 cm x 7 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994
          Oct. 21, 2023

          Cesar Legaspi (1917 - 1994

          Est: ₱10,000 - ₱13,000

          Nude handsigned and dated 1970 (lower right) artists proof silk screen 19” x 14” (48 cm x 36 cm)

          Leon Gallery
        • Ocampo & Legaspi Oil on Board Interaction Painting
          Sep. 13, 2023

          Ocampo & Legaspi Oil on Board Interaction Painting

          Est: $15,000 - $25,000

          Cesar Legaspi (Filipino, 1917-1994) and Hernando R. "HR" Ocampo (Filipino, 1911-1978). Oil on board painting from the "Interaction" series, 1972. Depicting interlocking forms in muted reds and blues that are iconic of Ocampo's "visual melody" period. The highly textured painting shows the signature look of Ocampo's paintings, who meticulously applied paint to his canvases with a small palette knife in methodical, small increments, changing from shade to shade with patience and care. Signed by both artists and dated by Legaspi along the lower right. With a label from the Cultural Center of the Philippines affixed along the verso. Exhibition: Cultural Center of the Philippines, "Interaction 1973," May 25 - June 24, 1973. Lot Essay: Both Legaspi and Ocampo were a part of the influential group known as the "Thirteen Moderns" who ushered in a modern style of painting to the Philippines. The group included Botong Francisco, Galo Ocampo, Lorenzo, Vicente Manansala, HR Ocampo, Anita Magasaysay-Ho, Cesar Legaspi, Demetrio Diego, Ricarte Purugganan, Jose Pardo, Bonifacio Cristobal and Arsenio Capili. This group interacted with each other often, collaborating to produce greater and greater works of art. Cesar Legaspi was a Filipino National Artist in painting. His early works often depicted cubist figures often described as showing the anguish and dehumanizing of the beggars and laborers in the city. In his early works he worked to refine Cubism and place it within a distinctly Filipino context, utilizing it to show the struggles his country faced in the wake of World War II. His focus on the human condition never faded even as he moved to a brighter palette and more abstract, geometric forms. He studied at the University of the Philippines and under the tutelage of Pablo C. Amorsolo before exhibiting his works at the Manila Hotel with other neo-realists in 1950. He held his first one-man show in 1963 at the Luz Gallery after studying for several years in Madrid and Paris. Until 1968 he split his time between working in advertising and painting before finally devoting his career to his artistic endeavors. He eventually became the head of the Saturday Group of Artists from 1978 until his death in 1994. Together with Legaspi and Vicente Manansala, Hernando Ruiz Ocampo (better known as HR Ocampo) was one of the three most significant figures who brought neo-realism to the Philippines. Ocampo was a self-taught artist whose works were noted for their unity and coherence throughout his career. As he shifted from neo-realism to abstract works in the 1960s, he began using more vivid paints and his paintings were sometimes likened to paint-by-number artworks. His works are self-defined by five distinct periods: the Amorsolo period from 1929-1934, the proletarian period from 1934-1945; the transitional period from 1945-1963; the mutants period from 1963-1968; and the visual melody period from 1968-1978. In addition to his inventive paintings, he was also a writer, playwright, and editor. He combined his love of art and writing for the creation of the monumental "Genesis" curtains in the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo. In his signature undulating forms of red, orange, and yellow, these curtains define his style and personality.

          Revere Auctions
        • Cesar Legaspi (1917 - 1994) Justin Nuyda (1944 - 2022) Alfredo Roces (b. 1932) - The Garden
          Sep. 09, 2023

          Cesar Legaspi (1917 - 1994) Justin Nuyda (1944 - 2022) Alfredo Roces (b. 1932) - The Garden

          Est: ₱1,000,000 - ₱1,300,000

          Cesar Legaspi (1917 - 1994) Justin Nuyda (1944 - 2022) Alfredo Roces (b. 1932) The Garden signed and dated 1975 (lower right) oil on canvas 32” x 23 1/2” (81 cm x 60 cm) Though we often speak of art history in terms of individuals, their techniques, and their masterpieces, once in a blue moon we come across a piece that not only brings together masters and their craft, but acts as a synthesis that allows us to see the fruition of an artistic movement. The work at hand is an oil on canvas collaborative piece that brings together notable Modernists that helped define Filipino art in the 20th Century. In the pursuit of the groundbreaking ideals and aspirations that defined the 20th century, Cesar Legaspi, one of the Thirteen Moderns, played a pivotal role in reshaping the local artistic landscape. Notably, he adapted the fundamental principles of cubism to harmonize with the unique language of Filipino art. This innovative approach not only pays tribute to Cubism's storied roots but also establishes a distinct technique that unquestionably paved the way for numerous local artists, collectors, and enthusiasts. In Justin Nuyda's realm of artistry, the allure and dream-like quality of his works have consistently captivated audiences. With a distinct and refined grace, Nuyda's brush breathes life into his surreal creations, which are born from his visionary perspective. While abstraction was not a new concept in his era, Nuyda left an indelible mark by shifting the primary entry point of perception in abstraction from sensation to cognition. Lastly, although he is mostly known for his contributions to Philippine art history and theory, Alfredo Roces is also considered a talented visual artist. In between chronicling the achievements of several National Artists in his writing assignments, Roces wields his artistic brush with finesse. He honed his skills by studying Fine Arts at the Arts Students League of New York and the University of Notre Dame. Over the years, his art has undergone a steady evolution, transitioning from abstract to figurative expressions across various mediums. In recognition of his talents, he earned the title of Artist of the Year from the Art Association of the Philippines in 1975. In the work at hand, one can see that although all three artists have developed and well-known styles, when placed together, they reveal to us a visual language unique to the overarching philosophy of art that dominated their area. The result is a coherent microcosm of Filipino modernism. (Jed Daya)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) - Dancing Nude (sic)
          Sep. 09, 2023

          Cesar Legaspi (1917 - 1994) - Dancing Nude (sic)

          Est: ₱1,200,000 - ₱1,560,000

          Cesar Legaspi (1917 - 1994) Dancing Nude (sic) signed and dated 1974 (lower right) oil on canvas 28" x 22" (71 cm x 56 cm) Cesar Legaspi’s Dancing Nude was among the works showcased in the seminal “Five Directions” exhibition held at the Museum of Philippine Art (MOPA) from October 31 to December 22, 1980. Spearheaded by its founding director Arturo Luz, the MOPA’s “Five Directions” was a groundbreaking show as it “put together in one exhibition certain stylistic tendencies moving along similar lines,” writes the exhibit’s curator and eminent art critic Rod. ParasPerez. The show assembled the best and brightest in the Philippine art scene of the post-war period: the NeoRealists, the Non-Objectives, the “Lakeshore” Artists, The Macro-Visionaries/Magic Realists/Hyper Realists, and the CCP Group. Returning to Legaspi’s Dancing Nude, the work is emblematic of the artist’s creative praxis during the 1970s, in which “he referred to objective reality as only as an undertone to his powerful abstract images,” as critic Alicia Coseteng writes in the book Art Philippines. By the 1960s, Legaspi had started to veer towards abstraction, and the 1970s would mark the consummate realization of this style. Legaspi depicts two nude figures, a man and a woman. He weaves Expressionism with his trademark Cubist language, underscoring the intensity of colors and irregularity yet solidity of forms. The Neo-Realist spirit of painting renewed perspectives on the often harsh reality is ever-present in this work. Both figures seemingly merge with the space around them, dancing their way to form one coherent whole. Legaspi’s radical fragmentation results in the overlapping of different elements in the composition, giving birth to an enigmatic harmonious oneness. Although depicting nudes, eroticism is not expressed but what is likely the struggling Filipino collective spirit in the immediate period of post-war rehabilitation, all the more so in the period of dictatorial rule in the 1970s— when this work was painted—in which people from all walks of life confronted in solidarity the contradicting elements of resilience, hope, and anguish brought by the darkness of the socio-economic and socio-political landscape of the time. Coseteng writes in the same monograph: “Legaspi’s leitmotif is a concern for the disinherited, struggling to exist in a harsh world. The social content of his mural reflects the influence of the protest movements of the postwar period.” (Adrian Maranan)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jul. 29, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱29,000 - ₱37,700

          Urban Residential signed (lower right) architecture Sketch 3 1/4” x 2 3/4” (8 cm x 7 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jun. 17, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱800,000 - ₱1,040,000

          PROPERTY FROM THE COLLECTION OF A DISTINGUISHED FAMILY Orchids signed and dated 1985 (lower right) oil on canvas 30" x 22" (76 cm x 56 cm) PROVENANCE: Acquired directly from the artist Apart from elusive works that evoke deep and powerful emotions, Cesar Legaspi also painted flowers. A charming subject since ancient times, flowers portrayed in art could symbolize love, passion, and purity. For the lot at hand, orchids are the chosen muse, and this kind of flower is said to represent beauty, femininity, and even affection for the dead. The artist was renowned for his distinctive style and daring themes, and thus his floral paintings are regarded as more than imaginative decorations. His still life compositions of flowers were the physical manifestations of his recurring interest in natural life. The petaled plants, a theme that is considered unique from the usual ones he pursued throughout his artistic career, were depicted often as freshly-cut and arranged in an ornate vase on a cloth-covered table. However, as observed on the canvas, the orchids bloom in their natural state, beautiful and glowing in the dark background. Years after the Legaspi oil piece was created in 1985, his career and contributions to the modern art world led him to be granted the most-coveted title of National Artist in 1990. (P.I.R.)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jun. 17, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱200,000 - ₱260,000

          a. Kennon Road b. Landscape c. Landscape a. Kennon Road signed, inscribed Kennon Road, and dated 1978 (lower right) watercolor on paper 14" x 10" (36 cm x 25 cm) b. Landscape signed, inscribed Layug, Barcelona, Sorsogon, and dated May 18, 1978 (lower left) watercolor on paper 11 1/2" x 9 3/4" (29 cm x 25 cm) c. Landscape signed and dated 1977 (lower left) watercolor on paper 15" x 21 3/4" (38 cm x 55 cm) PROVENANCE: Private Collection, Manila Apart from his iconic cubist oeuvres, Cesar Legaspi also painted dreamlike landscapes. He decided to depict the lots at hand desolated and absent of human presence, evoking in his art that nature is alive and survives. The nature paintings are pleasing to the eye, in spite of the fact that the artist was color blind, interchanging red for green oftentimes. Fortunately, in these pieces, there is no need to resort to the imagination because the landscapes are indeed in the rich colors of a verdant forest. The scenic views on the watercolor canvases are beautiful locations in Baguio and Bicol. In Kennon Road, he portrayed a wellknown route of the same name where one can marvel at a panoramic sight of mountains and lush forests. And, in Landscape inscribed with “Layug, Barcelona, Sorsogon,” Legaspi portrayed the province that houses the centuryold Barcelona Church. He holds the record of five retrospective exhibitions at different venues, one of which was held at the Museum of Philippine Art in 1978. A few years later, he was awarded the most-coveted title of National Artist for Visual Arts in 1990. (P.I.R.)

          Leon Gallery
        • CESAR LEGASPI (1917-1994) Brainstorm oil on canvas 109 x 138 cm. (42 7/8 x
          May. 29, 2023

          CESAR LEGASPI (1917-1994) Brainstorm oil on canvas 109 x 138 cm. (42 7/8 x

          Est: $550,000 - $850,000

          CESAR LEGASPI (1917-1994) Brainstorm oil on canvas 109 x 138 cm. (42 7/8 x 54 3/8 in.)

          Christie's
        • Cesar Legaspi (1917 - 1994) Untitled
          Apr. 22, 2023

          Cesar Legaspi (1917 - 1994) Untitled

          Est: ₱70,000 - ₱91,000

          Cesar Legaspi (1917 - 1994) Untitled signed and dated 1971 (lower right) watercolor on paper) 8 1/2” x 12 1/4” (21 cm x 30 cm PROPERTY FROM AN IMPORTATNT PRIVATECOLLECTION

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) i. Untitled ii. Untitled
          Apr. 22, 2023

          Cesar Legaspi (1917 - 1994) i. Untitled ii. Untitled

          Est: ₱45,000 - ₱58,500

          Cesar Legaspi (1917 - 1994) i. Untitled ii. Untitled i. signed and dated 1957 (lower right) ii. signed and dated 1954 (lower right) graphite on paper each i. 6” x 9” (15 cm x 23 cm) ii. 4 1/2” x 7” (11 cm x 18 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) Nude
          Apr. 22, 2023

          Cesar Legaspi (1917 - 1994) Nude

          Est: ₱40,000 - ₱52,000

          Cesar Legaspi (1917 - 1994) Nude signed and dated 1977 (lower right) charcoal on paper 14” x 21” (36 cm x 53 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) Lady
          Apr. 22, 2023

          Cesar Legaspi (1917 - 1994) Lady

          Est: ₱50,000 - ₱65,000

          Cesar Legaspi (1917 - 1994) Lady signed and dated 1981 (lower right) charcoal on paper 20 1/2” x 14” (52 cm x 36 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Feb. 18, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱120,000 - ₱156,000

          PROPERTY FROM THE COLLECTION OF A DISTINGUISHED COUPLE Cesar Legaspi (1917 - 1994) Landscape signed and dated 1976 (lower right) pastel on paper 18" x 24" (46 cm x 61 cm) Cesar Legaspi was color blind, interchanging red for green oftentimes. Fortunately, in this pastel-on-paper piece, there is no need to resort to the imagination because the landscape is indeed in the lush colors of a verdant forest. Although he had a reduced ability to discern color or differences in color, this did not deter him from pursuing his passion for art. Legaspi is an inspiration to everyone, as seen in how he overcame his challenge and made an important contribution to Philippine art. From a Tatler article, Legaspi’s “distinctive style and daring themes contributed significantly to the advent and eventual acceptance of modern art in the Philippines.” He holds the record of five retrospective exhibitions at different venues, one of which was held at the Museum of Philippine Art in 1978, two years after the creation of this 1976 piece. Legaspi was awarded the coveted title of National Artist for Visual Arts in 1990, a few years before he passed away at the age of 76. (P.I.R.)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jan. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱120,000 - ₱156,000

          a) Still Life b) - m) Untitled n) Untitled I and II o) Untitled embossed signature (lower right/ lower left) each pen and ink on paper each 2” x 4” (5 cm x 10 cm) to 5 1/2” x 3” (14 cm x 8 cm) Each piece is accompanied by individual certificates issued by the artist’s estate confirming the authenticity of this lot.

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jan. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱25,000 - ₱32,500

          Cesar Legaspi (1917 - 1994) Untitled signed and dated 1974 (lower right) conte crayon 18” x 12” (46 cm x 30 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jan. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱10,000 - ₱13,000

          Cesar Legaspi (1917 - 1994) Untitled ca. 1970s embossed signature (lower right) oil on paper 4” x 3” (10 cm x 8 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994)
          Jan. 21, 2023

          Cesar Legaspi (1917 - 1994)

          Est: ₱15,000 - ₱19,500

          a) Eglise Notre Dame de Bon Secour signed and dated 1979 (lower right) hand signed hand numbered lithograph, 99/250 11” 1/2 x 11” (29 cm x 28 cm) b) Eglise St. Sulpice, Paris signed and dated 1979 (lower right) hand signed hand numbered lithograph, 99/250 11” 1/2 x 11” (29 cm x 28 cm)

          Leon Gallery
        • Cesar Legaspi (1917 - 1994) Nude
          Dec. 03, 2022

          Cesar Legaspi (1917 - 1994) Nude

          Est: ₱40,000 - ₱52,000

          PROPERTY FROM THE SENATOR LETICIA RAMOS SHAHANI COLLECTION Nude signed and dated 1977 (lower right); dedicated "To Letty Shahani with my best wishes" (lower right) pastel on paper 20 1/2" x 12 1/2" (52 cm x 32 cm) Cesar Legaspi’s renditions of the nude are reminiscent of his time as a graphic illustrator prior to pursuing a full-time career in painting. In the case of this particular piece, Legaspi bares the sublimity of the female figure in its unclad beauty. The work at hand is a gift from Legaspi to Leticia Shahani. By depicting the female nude as an empowered figure, free from inhibitions and able to express her femininity confidently, Legaspi enkindles a reclaiming of the female narrative. Thus, this piece was a fitting gift to an empowered woman who defied all odds to become a pioneering Filipina diplomat and lawmaker amid a male-dominated political arena. (A.M.)

          Leon Gallery
        • CESAR LEGASPI (1917-1994) Crucifixion oil on board 101 x 121.5 cm. (39 3/4
          Dec. 01, 2022

          CESAR LEGASPI (1917-1994) Crucifixion oil on board 101 x 121.5 cm. (39 3/4

          Est: $280,000 - $350,000

          CESAR LEGASPI (1917-1994) Crucifixion oil on board 101 x 121.5 cm. (39 3/4 x 47 7/8 in.)

          Christie's
        Lots Per Page:

        Popular Artists

        Devices

        Get Invaluable on Your Phone

        Download the app via text link to get instantly notified if you’re outbid and receive auction reminders so you never miss out!

        Bid On-the-Go!

        Download the Invaluable app and never miss an auction from your iOS or Android device.

        App Store badgeGoogle Play badge
        Invaluable Logo

        As the world's leading online auction marketplace, thousands of auction houses use Invaluable to deepen relationships with millions of clients around the world. Stay connected to the things you love with curated items and auctions sent to your inbox.

        You can unsubscribe at any time. View ourPrivacy Policy.

        © 1986-2024 Invaluable, LLC. and participating auction houses. All Rights Reserved.

        TermsSubscription AgreementPrivacy PolicyCopyrightGDPR InfoPrivacy ChoiceYour Privacy ChoicesSite Map