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Antipas Delotavo Sold at Auction Prices

b. 1954 -

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      • Antipas Delotavo (b. 1954)
        Oct. 21, 2023

        Antipas Delotavo (b. 1954)

        Est: ₱120,000 - ₱156,000

        Untitleds signed and dated 2021 (lower right) oil on canvas 20” x 16” (51 cm x 41 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jul. 29, 2023

        Antipas Delotavo (b. 1954)

        Est: ₱80,000 - ₱104,000

        Kalburo signed (lower right) dated 1980 oil on canvas 30” x 29 1/2” (76 cm x 75 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jun. 17, 2023

        Antipas Delotavo (b. 1954)

        Est: ₱150,000 - ₱195,000

        Hugis ng Pangarap signed and dated 2012 (lower right) oil on canvas 40" x 30" (102 cm x 76 cm) PROVENANCE: Private Collection, Manila EXHIBITED: Artinformal Greenhills, Mallcontents, Mandaluyong City, April 4 - 22, 2013 Antipas Delotavo's Hugis ng Pangarap tackles issues regarding consumerism, the capitalist notions surrounding beauty standards, and the machinery from which it operates: neoliberalism. Delotavo says of this work: "This painting shows a woman with a not-so-ideal figure compared to the ideal images commonly seen in the malls of perfectly figured models with fashionable clothes, showing the disparity between reality and fantasy." The painting was part of Delotavo's 2013 exhibition, titled Mallcontents, in which he tackled the ubiquitous image of the mall as the ultimate symbol of consumerism in the country. Delotavo's compelling capabilities in portraiture unleashes the candid expressions in the face of his subjects. The women wander aimlessly, distressed and bothered by the images they see of glamorized beauty standards set by machodominated capitalism and propagated by corporations, consumer products and services, the media, and the like. The foreign monopoly capitalists, in connivance with the big compradorlandlord class, keep the backwardness of our economy. They hinder national progress, maintaining an importdependent and export-oriented economy, thus retaining our semi-colonial and semi-feudal state. The commodification of beauty by projecting unrealistic standards and perpetuating the influx of "beauty-enhancing" goods and services are part and parcel of a neoliberal framework, i.e., liberalizing the economy for these surplus products and capital from capitalist nations to enter the country freely. Therefore, propagating idealistic beauty standards that engender insecurity (and then capitalizing on it) and commercializing women's images in marketing products dehumanizes them, merely commodifying them for corporate profit. Neoliberalism distorts reality for us to give in to capitalist mercenary demands and interests. In the work at hand, Delotavo further emphasizes the seemingly inescapable labyrinth women must go through under this oppressive structure. The only way for women to emancipate themselves from slavery under the status quo is to join in solidarity with the broad masses in the struggle against systemic exploitation, fight for a nationalist, scientific, and mass-oriented culture, and expose the tragic reality of women underneath the ostentation of commercialization. (A.M.)

        Leon Gallery
      • Antipas Delotavo (b. 1954) Entree
        Apr. 22, 2023

        Antipas Delotavo (b. 1954) Entree

        Est: ₱150,000 - ₱195,000

        Antipas Delotavo (b. 1954) Entree signed and dated 2019 (lower right) acrylic and oil on canvas 40” x 30” (102 cm x 76 cm) EXHIBITEDTin-Aw Art Gallery, Dance with the Mayflies,Makati City, December 7 - 21, 2019 The term “entrée” refers to the main course of a meal. But it could also refer to “the right to join a group of people or enter a place” (Cambridge English Dictionary). Through this definition, one of the foremost social realists of our time, Antipas Delotavo, gears this work aptly titled Entrée. Images of the ordinary people form the centerpiece of the composition: a man wearing a sando and a cap and two other persons seemingly going on with their daily affairs. The man in the center gazes through the open window of an opulent setting, likely a five-star restaurant, decorated with fine wall art, a chandelier, and an exquisite table set up for fine dining. In a country overflowing with resources, neoliberal policies have kept the economy underdeveloped and backward, affecting policies in food security and sufficiency. With the continuing importation of food sources, which kills the local agricultural and food industries, the ordinary people bear the burden of skyrocketing prices of daily sustenance, providing them with only more restricted access to these needs, while the well-off continue to be unaffected or if not, benefit more from these affairs. In the face of all these riches, affluence, and seemingly overflowing resources for the wealthy, the painting conjures up a thoughtprovoking question for the viewer: Where do the masses stand amid all these flashy extravaganzas? Although the masses are the makers of a country’s wealth, why does it seem that they have no right to access even the most fundamental of resources, which is food? (A.M.)

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jan. 21, 2023

        Antipas Delotavo (b. 1954)

        Est: ₱40,000 - ₱52,000

        Antipas Delotavo (b. 1954) Dungaw sa Kahapon III signed and dated 2020 (lower right) oil on canvas 20” x 16” (51 cm x 41 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jul. 30, 2022

        Antipas Delotavo (b. 1954)

        Est: ₱50,000 - ₱65,000

        Antipas Delotavo (b. 1954) Molo Mansion signed and dated 2020 (lower right) oil on canvas 20” x 16” (51 cm x 41 cm) Accompanied by a certificate issued by Tin-aw Art Gallery and signed by the artist confirming the authenticity of this lot

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jul. 30, 2022

        Antipas Delotavo (b. 1954)

        Est: ₱50,000 - ₱65,000

        Antipas Delotavo (b. 1954) Calle E signed and dated 2018 (lower right) oil on canvas 20” x 16” (51 cm x 41 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jul. 30, 2022

        Antipas Delotavo (b. 1954)

        Est: ₱10,000 - ₱13,000

        Antipas Delotavo (b. 1954) Nina signed and dated 2003 (lower right) pastel on paper 22” x 19” (56 cm x 48 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Jun. 11, 2022

        Antipas Delotavo (b. 1954)

        Est: ₱140,000 - ₱182,000

        Antipas Delotavo (b. 1954) Babala sa Abala signed and dated 2018 (lower right) oil on canvas 48" x 36" (122 cm x 91 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot EXHIBITED: Altro Mondo Greenbelt 5, Marginals, Makati City, November 15 - December 31, 2018 As stressed by art critic Alice Guillermo, social realism in the Philippines "stresses the choice of contemporary subject matter drawn from the conditions and events of one's time" and "is essentially based on a keen awareness of conflict." Expanding on this definition, Antipas Delotavo focuses on the subject of art and contextualizes it within its current situation; the glitz and glamor of galleries, where the affluent revel in the presence of fine art; how art nowadays is detached from the interests of the ordinary Filipinos. Delotavo explores the contradiction between the interests of two opposing classes regarding art. The artist uses an ornate frame as the centerpiece, with pictures of ordinary Filipinos surrounding the object. Struggling to make ends meet in the throes of labor under an exploitative system, they continue with their daily lives, unmoved by all the enthusiasm surrounding the sale of fine art. Delotavo paints an image of a red signal light above the frame. It serves to remind how the masses, occupied with their paltry subsistence, often overlook how art can be a powerful tool, thus alienating them from a medium that can serve, represent, and amplify their immediate interests. However, we should not blame the masses for their disregard. As they struggle to cope in an unjust system, the prevailing idea is that art is only accessible to the wealthy. Art critic Cid Reyes writes in the exhibition notes of Marginals: "Indeed, Delotavo has observed from his interactions with people who often cross his path that they regard art objects as simply expensive material things, the objects of desire of the upper class." This notion also stems from reality—that art has been molded to suit the demands of a profit-oriented and profitdriven system. Guillermo argues in her book Social Realism in the Philippines: “As technologies are geared to serve the interests of the First World, so is art shaped as a commodity to serve the market of dealers, agents, collectors, and art investors by encouraging and rewarding marketable qualities.” Hence, Delotavo stresses the democratization of art in such a manner that it can register through the veins of our consciousness and induce an awakening. On this account, art and its production are and will always be bound to be political. (A.M.)

        Leon Gallery
      • Antipas Delotavo (b. 1954) - Nina
        Apr. 23, 2022

        Antipas Delotavo (b. 1954) - Nina

        Est: ₱12,000 - ₱15,600

        Antipas Delotavo (b. 1954) Nina signed and dated 2003 (lower right) pastel on paper 22” x 19” (56 cm x 48 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954) - Calle E
        Apr. 23, 2022

        Antipas Delotavo (b. 1954) - Calle E

        Est: ₱55,000 - ₱71,500

        Antipas Delotavo (b. 1954) Calle E signed and dated 2018 (lower right) oil on canvas 20” x 16” (51 cm x 41 cm) Accompanied by a certificate issued by Tin-aw Art Management and signed by the artist confirming the authenticity of this lot

        Leon Gallery
      • Antipas Delotavo (b. 1954) - Untitled
        Apr. 23, 2022

        Antipas Delotavo (b. 1954) - Untitled

        Est: ₱55,000 - ₱71,500

        Antipas Delotavo (b. 1954) Untitled signed and dated 2020 (lower right) oil on canvas 20” x 16” (51 cm x 41 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954) - Tawid-Gutom
        Mar. 05, 2022

        Antipas Delotavo (b. 1954) - Tawid-Gutom

        Est: ₱80,000 - ₱104,000

        Tawid-Gutom signed and dated 1999 (lower right) oil on canvas 35" x 35" (89 cm x 89 cm) PROVENANCE Hiraya Gallery, Manila EXHIBITED Hiraya Gallery, 35th Anniversary Exhibition, ArtistSpace, Ayala Museum, Makati City, October 17 - October 30, 2015 As an artist whose creative flair flourished during a tumultuous period in our history, Antipas Delotavo has pursued social realism as if it were his lifeblood. Delotavo has devoted his artistry towards unmasking the injustices experienced by the ordinary Filipino through his intriguing works. His oeuvre is a continuing thread of visual narratives that serve as his rallying cry in solidarity with the toiling masses. Of his themes, Delotavo said: "Most great art emanates from [a] pleasant, positive, and uplifting spirit. My art seems to contradict it. Social burden initiates it, and I seek relief by painting it. I'm not sure if it's [an] inspiration. I think it's more of a responsibility as a social being with a conscience." In 1999, the Philippines was still enduring the aftermath of the Asian Financial Crisis. The escalating turmoil resulting from the government's economic mismanagement and cronyism only exacerbated the country's socio-economic landscape. Poverty incidence also increased. As a visual critic of present societal conditions, Delotavo produced Tawid-Gutom (tide over hunger). The piece depicts a group of children known colloquially in the country as "rugby boys." Surrounding them are objects that symbolize the repercussions of chronic poverty. Some of these (the rugby can, the plastic bags, and the bottle of gin) imply a form of escapism from dismal conditions. In this work, Delotavo paints an image of the street children who use aromatic solvents placed in plastics to alleviate their hunger. Delotavo exemplifies how the poor are likely to succumb to addiction because of deprivation; they need an "escape" from the vicious cycle of inequality. Chronic poverty also causes social distress. Thus, it increases vulnerability to substance and alcohol abuse. Worse, the circumstances of the impoverished force them to resort to felonies (represented by the gun and the dagger) as a means to fund their fixations, survive, and temporarily relieve themselves from the consequences of a systemic problem. Delotavo also criticizes a system that continues to perpetuate the interests of the ruling class. Those in power remain subservient to an exploitative system that empowers the oppressors and silences the oppressed. Hence, socio-economic conditions resulting in criminality and social turmoil will subsist. With this piece, Delotavo makes a resounding protest, upholding the idea that "art should comfort the disturbed and disturb the comfortable."

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Dec. 11, 2021

        Antipas Delotavo (b. 1954)

        Est: ₱20,000 - ₱26,000

        Antipas Delotavo (b. 1954) Old Man signed (lower left) watercolor 20" x 25" (51 cm x 64 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954) Nina
        Oct. 16, 2021

        Antipas Delotavo (b. 1954) Nina

        Est: ₱10,000 - ₱13,000

        Antipas Delotavo (b. 1954) Nina signed and dated 2003 (lower right) pastel on paper 22 1/2” x 18 1/2” (57 cm x 47 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954) Suko sa Tadhana
        Sep. 11, 2021

        Antipas Delotavo (b. 1954) Suko sa Tadhana

        Est: ₱320,000 - ₱416,000

        6 Antipas Delotavo (b. 1954) Suko sa Tadhana signed and dated 2017 (lower right) oil on canvas 60” x 48” (152 cm x 122 cm) P 320,000 PROVENANCE Tin-aw Art Gallery, Makati City EXHIBITED Tin-aw Art Gallery, Crux Section, Makati City, September 16 - October 7, 2017   Antipas “Biboy” Delotavo has committed his art to the unmasking of social injustices in contemporary society. Associated with prominent social realists who exposed the atrocities of Martial Law, Delotavo aims to enlighten every Filipino on the inhumane conditions experienced by the oppressed and the impoverished. In this piece, Delotavo depicts the common people – his dominant subject in his four-decade career as a prolific artist. Surrounded by characters who wander aimlessly, the central figure stands lost in thought, with flagellation marks on his back. Flagellation is a traditional practice observed during the Holy Week and one of the most intense forms of penitence among Filipino Catholics. Although it is strongly discouraged by the Catholic Church due to its extremity, devotees who continue to immerse themselves in it believe that it is a way to cleanse one’s soul of sins and grant wishes. Suko sa Tadhana explores the desperate pleas of an individual left with no choice but to surrender his circumstances and existence to a predetermined end. Amid the masquerade of grandeur and progress symbolized by the buildings are the visages of despair and adversity. When asked by Global Voices regarding his themes, Delotavo said: “Most great art emanates from [the] pleasant positive spirit which is uplifting that inspires it. My art seems to contradict it. Social burden initiates it, and I seek relief by painting it. I’m not sure if it’s [an] inspiration. I think it’s more of a responsibility as a social being with [a] conscience.”

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Apr. 09, 2021

        Antipas Delotavo (b. 1954)

        Est: ₱150,000 - ₱195,000

        Antipas Delotavo (b. 1954) Untitled signed and dated 2000 (lower right) oil on canvas 40” x 30” (102 cm x 76 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Apr. 09, 2021

        Antipas Delotavo (b. 1954)

        Est: ₱10,000 - ₱13,000

        Antipas Delotavo (b. 1954) Niña signed and dated 2003 (lower right) charcoal on paper 22” x 19” (56 cm x 48 cm)

        Leon Gallery
      • Antipas Delotavo (b. 1954) Iloilo Mansion
        Jan. 23, 2021

        Antipas Delotavo (b. 1954) Iloilo Mansion

        Est: ₱45,000 - ₱58,500

        Antipas Delotavo (b. 1954) Iloilo Mansion signed and dated 2016 (lower right) 14” x 18” (36 cm x 46 cm) Accompanied by a certificate signed by the artist confirming the authenticity of this lot

        Leon Gallery
      • Antipas Delotavo (b. 1954) - Rizal Boulevard
        Nov. 28, 2020

        Antipas Delotavo (b. 1954) - Rizal Boulevard

        Est: ₱100,000 - ₱130,000

        Antipas Delotavo (b. 1954) - Rizal Boulevard signed and dated 2014 (lower right) oil on canvas Accompanied by a certificate issued by Gallery Orange confirming the authenticity of this lot Estimate USD : $2000-$2600 Estimate Euros : €1666.66-€2166.66

        Leon Gallery
      • Antipas Delotavo (b. 1954) - Untitled (White Edifice Series)
        Nov. 28, 2020

        Antipas Delotavo (b. 1954) - Untitled (White Edifice Series)

        Est: ₱400,000 - ₱520,000

        PROPERTY FROM THE COLLECTION OF A DISTINGUISHED GENTLEMAN Antipas Delotavo (b. 1954) Untitled (White Edifice Series) signed and dated 2017 (lower right) oil on canvas Estimate USD : $8000-$10400 Estimate Euros : €6666.66-€8666.66

        Leon Gallery
      • Antipas Delotavo (b. 1954) - White Edifice
        Sep. 19, 2020

        Antipas Delotavo (b. 1954) - White Edifice

        Est: ₱200,000 - ₱260,000

        Antipas Delotavo (b. 1954) White Edifice signed and dated 2008 (lower right) oil on canvas One of the foremost Social Realist artists working today, Antipas Delotavo has always depicted common folk with dignity without erasing their suffering and human frailty. For Delotavo, truly great art is born out of a certain dialectic in which beauty is negated in order to produce a work whose essence, although unfamiliar with reality, still manages to capture an important truth. Thus, his works often feature common folk enmeshed in figurative and surreal landscapes, invoking a sense of juxtaposition and irony. In this particular piece entitled White Edifice, Delotavo contrasts the sublime and pristine white of the surrounding architecture with the muddy and muted browns and blacks of the pedestrians and the street. Delotavo’s piece can be seen as the current state of the human condition amidst rapid urbanization and development. The contrast between the two elements of the piece speaks volumes about what society truly values in this day and age. White Edifice showcases the true nature of the face of the facade that is rugged modernisation. Estimate in USD $4000-$5200

        Leon Gallery
      • ANTIPAS DELOTAVO (B. 1954)
        Sep. 21, 2019

        ANTIPAS DELOTAVO (B. 1954)

        Est: ₱220,000 - ₱250,000

        Sa Gilid ng Alanganin

        Salcedo Auctions
      • Antipas Delotavo (b.1954) Untitled
        Jul. 20, 2019

        Antipas Delotavo (b.1954) Untitled

        Est: ₱60,000 - ₱78,000

        Antipas Delotavo (b.1954) Untitled

        Leon Gallery
      • Antipas Delotavo Portrait
        Jul. 20, 2019

        Antipas Delotavo Portrait

        Est: ₱20,000 - ₱26,000

        Antipas Delotavo Portrait

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Sep. 22, 2018

        Antipas Delotavo (b. 1954)

        Est: ₱380,000 - ₱400,000

        Untitled

        Salcedo Auctions
      • Woman with Umbrella
        Sep. 09, 2017

        Woman with Umbrella

        Est: ₱80,000 - ₱104,000

        Antipas Delotavo (b.1954) Quantity: 1

        Leon Gallery
      • Antipas Delotavo (b. 1954)
        Sep. 17, 2016

        Antipas Delotavo (b. 1954)

        Est: ₱75,000 - ₱85,000

        Canine Devotion

        Salcedo Auctions
      • Antipas Delotavo (b.1954)
        Jun. 13, 2015

        Antipas Delotavo (b.1954)

        Est: ₱30,000 - ₱39,000

        Untitled

        Leon Gallery
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