MARCOS SALN REVEALS P84.8-MART COLLECTION FEATURING RIZAL, AMORSOLO WORKS

Beyond landholdings, financial assets, and official disclosures, President Ferdinand Marcos Jr.’s latest statement of assets, liabilities, and net worth offers a glimpse into another form of wealth—one painted across canvases tied to Philippine history, nationalism, and cultural prestige.

Documents obtained from the Office of the Ombudsman revealed that Marcos and First Lady Liza Araneta-Marcos declared 138 paintings in their 2025 SALN with a combined appraised value of P84.8 million, including works attributed to national figures such as Jose Rizal and Fernando Amorsolo.

Among the most notable pieces listed is Rizal’s 1883 artwork “Los Dos Pintores,” reportedly gifted to Marcos in April 1993 and appraised at P3 million.

Also included in the collection is Amorsolo’s 1928 painting “Seated woman with a bashful smile,” which Marcos reportedly acquired in March 2022 for P3 million and which has since reached an appraised value of P8 million.

The collection further includes 17 works by National Artist Ben Cabrera, more popularly known as Bencab, spanning from 1976 to 2010 with valuations reaching as high as P2.2 million.

The paintings were appraised by Leon Gallery based on fair market value estimates.

Under Philippine law, public officials are required to file a Statement of Assets, Liabilities, and Net Worth in accordance with Code of Conduct and Ethical Standards for Public Officials and Employees, a transparency mechanism intended to promote accountability and public trust in government service.

The SALN has long served not only as a financial disclosure document but also as a political measure of transparency, often scrutinized for indications of wealth accumulation, conflicts of interest, and consistency in declared assets.

Marcos’ 2025 SALN declared a total net worth of P1.457 billion, including over P1.029 billion in real properties and P427.4 million in personal properties.

Yet beyond the figures, the disclosure has sparked broader public reflection on the intersection of political power, cultural heritage, and elite ownership of nationally significant artworks.

For some, the inclusion of Rizal and Amorsolo pieces in a presidential SALN reflects an appreciation for Filipino artistic legacy and historical identity. For others, it raises questions about the concentration of cultural treasures within influential political families, particularly amid persistent national conversations surrounding wealth, accessibility, and historical memory.

The revelation also underscores how SALNs, though primarily legal documents, often evolve into political and cultural narratives that reveal more than financial standing alone.

In a country where art frequently mirrors power, history, and identity, the canvases listed in the President’s declaration have become more than collectible assets—they now stand as symbols situated at the crossroads of governance, privilege, and national heritage.