Dalagang Bukid "Girl with Mangoes"
signed and dated 1945 (lower right)
oil on canvas
16” x 12 1/2” (41 cm x 32 cm)
Accompanied by a certificate issued by Mrs. Sylvia Amorsolo-Lazoconfirming the authenticity of this lot
PROVENANCEOriginally acquired from the artist in 1945 by Lieutenant Colonel James Jackson who was working under General MacArthur. Passed through descent to his stepson, the present owner.



Art in the Philippines prior to World War II was going through a dynamic interplay between traditional, colonial, and emerging modernist influences. The artists explored the matters of identity, representation, and cultural heritage, resulting in a diverse and evolving artistic landscape that laid the foundation for subsequent developments in the local art. Unfortunately, the aftermath of the war left a profound impact on Philippine art that no one could have ever predicted. The Second World War brought widespread destruction to the Philippines, and among those was the disruption in the trajectory of Philippine art. Apart from the ruin and loss of some studios and artworks, it also affected the artistic community’s ability to create, exhibit, and promote their works. On the other side of the coin, though, this period marked a transition as artists reconsidered their styles, themes, and influences in the context of the post-war Philippines. The wartime experiences, including stories of survival, struggle, and patriotism, became significant themes in Philippine art. Artists began to reflect on the impact of the war on the nation’s identity and collective memory, but there were also others who turned their attention to regional cultures and indigenous traditions, seeking to celebrate the Filipino identity, culture, and heritage. In the lot at hand, dated 1945, it is evident that the artist decided to depict the latter in his Dalagang Bukid “Girl with Mangoes.” Fernando Amorsolo, a prominent Filipino painter, purposefully portrayed women with mangoes in his paintings to evoke a sense of nostalgia, cultural identity, and an idyllic impression of the Philippines. Amorsolo’s choice of subject matter was influenced by his desire to capture the essence of Filipino life and culture. The imagery of women with mangoes not only displayed the beauty of the Filipino women but also celebrated the simple pleasures of rural living, where the harvest of mangoes was a source of joy and sustenance. Furthermore, mangoes are a significant fruit in Philippine culture, symbolizing abundance, tropical landscapes, and a connection to the country’s agricultural heritage. Indeed, the National Artist’s oeuvre carries an underlying message of nationalistic pride and a longing for a simpler past. (Isabella Romarate)

Art in the Philippines prior to World War II was going through a dynamic interplay between traditional, colonial, and emerging modernist influences. The artists explored the matters of identity, representation, and cultural heritage, resulting in a diverse and evolving artistic landscape that laid the foundation for subsequent developments in the local art. Unfortunately, the aftermath of the war left a profound impact on Philippine art that no one could have ever predicted. The Second World War brought widespread destruction to the Philippines, and among those was the disruption in the trajectory of Philippine art. Apart from the ruin and loss of some studios and artworks, it also affected the artistic community’s ability to create, exhibit, and promote their works. On the other side of the coin, though, this period marked a transition as artists reconsidered their styles, themes, and influences in the context of the post-war Philippines. The wartime experiences, including stories of survival, struggle, and patriotism, became significant themes in Philippine art. Artists began to reflect on the impact of the war on the nation’s identity and collective memory, but there were also others who turned their attention to regional cultures and indigenous traditions, seeking to celebrate the Filipino identity, culture, and heritage. In the lot at hand, dated 1945, it is evident that the artist decided to depict the latter in his Dalagang Bukid “Girl with Mangoes.” Fernando Amorsolo, a prominent Filipino painter, purposefully portrayed women with mangoes in his paintings to evoke a sense of nostalgia, cultural identity, and an idyllic impression of the Philippines. Amorsolo’s choice of subject matter was influenced by his desire to capture the essence of Filipino life and culture. The imagery of women with mangoes not only displayed the beauty of the Filipino women but also celebrated the simple pleasures of rural living, where the harvest of mangoes was a source of joy and sustenance. Furthermore, mangoes are a significant fruit in Philippine culture, symbolizing abundance, tropical landscapes, and a connection to the country’s agricultural heritage. Indeed, the National Artist’s oeuvre carries an underlying message of nationalistic pride and a longing for a simpler past. (Isabella Romarate)