PROPERTY FROM THE MARGARITA "TINGTING" COJUANGCO COLLECTION

Accompanied by a certificate issued by the heirsof the artist confirming the authenticity of this lot

ABOUT THE WORK

An Imus-born artist, Solomon Saprid began entering art competitions in 1967, submitting his work titled Sad Christ to the sculpture competition of the Art Association of the Philippines. In 1969, he held his debut solo exhibition at the Solidaridad Galleries in Ermita, Manila. He became the Philippine representative to the Indian Triennale in 1971 and the Australian Biennial in 1973. Saprid served as the president of the Art Association of the Philippines for three consecutive terms, from 1974 to 1976. Saprid was also a multi-awarded contemporary artist, winning the first prize for Anihan II in 1977 and the second prize for Eternal Triangle in 1979, both from the Art Association of the Philippines. He was also bestowed with the Araw ng Maynila Award in 1970 by the city government of Manila. In a landmark exhibition in 1990, he showcased his works alongside his other renowned contemporaries Onib Olmedo and Ang Kiukok in “Three Figurative Expressionists” held at the Cultural Center of the Philippines. “Mang Sol,” as he was affectionately called by his friends and colleagues, creates commanding metal sculptures with characteristic strips made otherworldly in his stylized soldering. He developed his unique style by entering various arts and sculpture competitions. His unorthodox treatment was met with praise by judges and critics alike, given Saprid’s unique and refreshing take on traditional and age-old subjects and themes. Saprid’s most iconic figures are his nude figures, folk dances, fruits and flowers, and the tikbalang, the most iconic in his oeuvre. In his brass rendition of the creation of man, the figures are suspended in their becoming 95 PROPERTY FROM THE MARGARITA "TINGTING" COJUANGCO COLLECTION Solomon Saprid (1917 - 2003) Creation signed and dated 1983 (bottom) brass 54" x 32" x 28" (137 cm x 81 cm x 71 cm) P 1,000,000 Accompanied by a certificate issued by the heirs of the artist confirming the authenticity of this lot as threads of metal and brass are soldered together in order to create an effect that implies movement. This striking balance between structure and fluidity is what gives Saprid’s artistry its unparalleled allure in the world of Filipino sculpture. Alfredo Roces described Saprid’s sculptures as having “a kinetic quality to it… a sense of arrested action.” Furthermore, the renowned art critic and artist added: The effect is one towards which the artist strives. He refers to it as ‘frozen motion.’ I’m sure you experienced it as you viewed his work.” In a March 8, 1979 article published in Business Day, Angel G. de Jesus wrote: “In [a] conversation with friends, the late Hernando R. Ocampo used to describe Solomon A. Saprid as [the] “Philippines’ best living sculptor… His metalwork is unique and has a blown-out look derived from strands and laboriously welded together to create work in which matter and space convey a feeling of airy, poetic beauty and grace. The viewer’s eyes do not see the rough metallic texture, enamored as he is by the beauty of the composition, which is emphasized by the color of the metal. It is remarkable how strips of metal can be so constructed as to produce such a feeling of movement and grace.” Saprid always preferred the laborious yet breathtaking art of sculpting. For the artist, “it is very fulfilling because there is very little deception.” In Saprid’s sculptures, the figures contrast the traditional notions of refinement and harmony, cementing his enduring legacy in Philippine contemporary sculpture.