Attributed to Oscar Zalameda, it does not have a COA. Medium: oil canvas, 25 x 19 inches. Provenance: private owner.
Biography: 1930 - 2010. Oscar Deveza Zalameda was born on September 24, 1930, to Eladio Zalameda and Julia Deveza. A Bachelor of Fine Arts graduate of the University of Santo Tomas, he left in 1953 to take further art studies at the Art League of California in San Francisco and the Ecole Nationale Superieure des Beaux-Arts and the Sorbonne in Paris. He also studied mural techniques in Mexico in 1955. This would be followed by a series of exhibits in New York, Paris, Barcelona, Hamburg, Monte Carlo and Milan, before returning home to show his work at the Philam Life Pavilion in 1963. The following year, he exhibited at the National Palace of Fine Arts in Mexico City, and in 1966, First Lady Imelda Romualdez Marcos invited him to hold a one-man show at the Malacañang Palace.Garlanded with his Chavelier Des Arts et Lettres from the French government, Zalameda lived the good life to the hilt, swigging down Johnny Walker, chain- smoking, driving between Lukban and his almost-Rockwell, Makati third floor unit in his Mercedes Benzes, partying with the jet-set.Tan says that Zalameda left a body of work that he numbers at around 1,000 pieces, the artist turning out no more than 50 works a year. That his subject matter was most often Filipino he attributed to his locale, although he did create noteworthy pieces with foreign subject matter such as his view of a bridge over the river Seine which he exhibited as part of an exhibition sponsored by the Royal Dutch Embassy marking the centenary of Vincent Van Gogh.Very few people knew the private side of Zalameda beyond the bon vivant veneer apartments in Paris and Rome, and the utensil or plate-throwing society scandal that allegedly found the artist locked behind bars and plastered on the front page. Tan describes the artist as being "fatherly" having underwritten the schooling of many Lukban children, and lending financial support to friends and family.Zalameda passed away quietly, far from the fawning madding crowd that he cultivated. Ever the showman, one can only imagine that the controversy that hounded him in life and the reclusiveness that attended his final bow will be followed by a rapturous curtain call.

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

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