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  • Alfredo Esquillo (b. 1972) - Travellers (Portrait of John Santos and family
    Feb. 22, 2025

    Alfredo Esquillo (b. 1972) - Travellers (Portrait of John Santos and family

    Est: ₱600,000 - ₱780,000

    Alfredo Esquillo (b. 1972) Travellers (Portrait of John Santos and family) signed and dated 2005 (lower left) oil on canvas 48" x 48" (122 cm x 122 cm)   Provenance: Acquired from art collectors & patrons Rico & Melanie Hizon   Exhibited: Art Sentral Asia (Rico & Melanie Hizon), Singapore, 2005 Three Masters Meet in One Portrait Esquillo Paints John and Pam Santos by Jed Daya   Alfred Esquillo’s Travelers feels like a departure from his usual works—while he often tackles grand social themes, this piece is more intimate, more personal. Instead of depicting anonymous figures in scenes of history or culture, he turns his attention to fellow artists: José John Santos III, Pam Yan Santos, and their child. It’s a quiet, almost whimsical portrait of a family on the move, yet it carries the same layers of meaning and subtle critique that define Esquillo’s work.   Esquillo and Santos share a long history in the Philippine art scene. Both emerged in the 1990s as major figures, navigating the same artistic circles and pushing their craft in ways that often intersected. There’s a deep sense of respect and camaraderie between them, and Travelers almost feels like a tribute to that connection. It’s a depiction of movement—not just literal travel, but the shared journey of being artists, partners, and parents.   At first glance, the piece has a surreal, dreamlike quality. The family sits on wooden chairs with tiny, winged wheels, as if they are gliding forward on a path only they can see. The umbrellas they wear almost feel like protective shields, hinting at the resilience needed to move through life’s uncertainties. There’s humor in the way they ride their makeshift vehicle, but there’s also warmth—a sense of togetherness that makes the scene feel deeply human.   Esquillo’s work has always been rich in symbolism, and Travelers is no different. It’s about movement, partnership, and the way identity shifts as we take on new roles. By choosing to paint the Santos family, Esquillo isn’t just documenting friends—he’s reflecting on the shared experience of artists, the unpredictability of life, and the quiet, unspoken strength it takes to keep moving forward.

    Leon Gallery
  • Alfredo Esquillo (b.1972) - Survivor: P. I.
    Jun. 08, 2024

    Alfredo Esquillo (b.1972) - Survivor: P. I.

    Est: ₱750,000 - ₱975,000

    Survivor: P. I. signed and dated 2005 (lower right) oil on canvas 72" x 72" (183 cm x 183 cm) EXHIBITED: Bank Indonesia Museum, 2nd CP Biennale, Jakarta, 5 September - 5 October 2005 LITERATURE: Supangkat, Jim, Asmudjo Jon Irianto, Rizki A Zaelani, Marco Kusumawijaya, Shin Yi Yang, and Timothy O'Leary. CP Biennale 2005: Urban/Culture (Exhibition Catalog). Jakarta: CP Foundation, 2005. Published on the occasion of the Second CP Biennale at the Bank Indonesia Museum in 2005. Full-color spread on pages 140 to 141 and painting description on page 141. Survival of the Fittest Esquillo’s Visual Account of Philippine History and Society Alfredo Esquillo Jr.'s artistic journey is marked by a deliberate shift from conventional norms to an exploration of the unfamiliar. Initially known for his precise social realism, Esquillo has transitioned to a realm of fantasy and surrealism, aligning with a directed vision of society and the world. His eclectic style draws from diverse international inspirations, transcending cultural boundaries. Whether expressing social commentary or delving into folk-inspired esotericism, Esquillo's art exhibits a level of intellectualism infused with poetic sensibility, evident across his body of work. In this piece titled “Survivor P.I.” we are thrown into Esquillo’s meticulously crafted world. Here, four figures crowned in exaggerated and comically large and loud headpieces are circling around a female figure, slowly wrapping her in what appears to be streamers of some sort. In typical Esquillo fashion, the work itself is rife with social and political commentary. The four figures, with their humorous get-up, are seemingly stand-ins for the comically dubious nature of politicians and corruption, while the entrapped woman in the center is a metaphor for the public. Though seemingly tongue and cheek, Esquillo displays a level of awareness that elevates this to a much more refined level of discourse worthy of art. (Jed Daya)

    Leon Gallery
  • Alfredo Esquillo (b. 1972) - I Created Gods in Seven Days I
    Dec. 02, 2023

    Alfredo Esquillo (b. 1972) - I Created Gods in Seven Days I

    Est: ₱600,000 - ₱780,000

    I Created Gods in Seven Days I signed and dated 2005 (lower right) oil on canvas 60” x 36” (152 cm x 91 cm PROVENANCE: León Gallery, The Kingly Treasures Auction 2017, December 2, 2017, Lot 56 As someone who developed his maturity during the politically turbulent times of the 1990s, Alfredo Esquillo Jr.’s paintings interweave the different aspects of Filipino culture. “He is interested in things that matter to people who live and die in this country,” Patrick Flores states and it is evident with his subject matter of religious iconography and various items of Filipino symbolism. Esquillo Jr.’s works delve heavily into the concept of loob. In Philippine psychology, loob refers to the various internal dimensions of a person’s psyche or their inner being. According to Christine Carmela R. Ramos, it encompasses Filipinos’ humanity, personality, theological perspective and daily experiences. Everything is interconnected and this fusion is a dynamic Esquillo Jr. frequently probes. In this 2005 work, Esquillo Jr. dives again into the intersection of folk Catholicism and Filipino culture. On the right, an old man dressed in the traditional garb of a saint statue sits with a crown of thorns on his head. On the upper middle lies another abstract Christlike figure, wearing a traditional crown on his head and sitting atop a wooden cart pushed by a man wearing a head umbrella. The work in its striking symbolism compares the two versions of Christ the audience sees in our daily lives: the abstract icon of Him to follow and the Christ one should see in our brethren. The arrow from the flesh and blood Christ to the viewer poses one question: how should one bridge these seemingly irreconcilable images? “My concepts about loob extend to universal views about spirituality,” says Esquillo Jr. “I’m interested in ideas about how we are all connected to others, how loob leads to Sangkalooban.” (Hannah Valiente)

    Leon Gallery
  • Alfredo Esquillo (b.1972) - Hidwaan ng Loob
    Dec. 02, 2023

    Alfredo Esquillo (b.1972) - Hidwaan ng Loob

    Est: ₱180,000 - ₱234,000

    Hidwaan ng Loob signed and dated (2018) lower left oil on ethylene-vinyl acetate (EVA) 36” x 24” (91 cm x 61 cm) PROVENANCE: Indigo Gallery WRITE UPAlfredo Esquillo Jr.’s Filipino heritage shines through his oeuvre. Full of witty socio-political symbolism, Esquillo Jr. weaves historical references, religious imagery, and popular culture to create interesting pieces with internal conflict. Mortality and faith, norms and society –Esquillo Jr. manages to make a statement with every piece created. This evocative 2018 work entitled Hidwaan ng Loob is no different. Loob is a veritable theme Esquillo Jr. often draws on. Loob, in Philippine psychology, is the myriad dimensions a person takes on – a person’s loob refers to their psyche, their humanity, their personality, the societal norms they grew up in and how all these factors intermingle to create a unique personal view of the world. “I’m interested in ideas about how we are all connected to others,” Esquillo said and his body of work is proof of his interest in this intersection of humanity. Combined with the word hidwaan which meant rift of disagreement, hidwaan ng loob refers to the paradox of these different psyche within one person. The piece is reminiscent of the Japanese idiom, “see no evil, hear no evil, speak no evil” as the woman at the forefront – drawn in an upside-down form similar to a figure in a playing card with contrasting color scheme – has one of her eyes covered. Continuing the long practice of social realism in the Philippines, Esquillo Jr. fearlessly explores the social, political, and cultural atmosphere of the country. (Hannah Valiente)

    Leon Gallery
  • Alfredo Esquillo (b.1972) - 300-Year Old Slave
    Sep. 09, 2023

    Alfredo Esquillo (b.1972) - 300-Year Old Slave

    Est: ₱600,000 - ₱780,000

    Alfredo Esquillo (b.1972) 300-Year Old Slave signed and dated 2017 (lower left) oil on ethylene-vinyl acetate 68" x 44" (173 cm x 112 cm) As a cultivated social realist, Alfredo Esquillo has mastered the art of the contemporary allegory. It is a character that yields a profound weight and social layering to his works, lending each piece a deep historical consciousness always at work with a postcolonial retrospective. In his 2013 Afterall journal article entitled “Social Realism: The Turns of a Term in the Philippines”, art critic and historian Patrick Flores writes of social realism in the Philippines as bearing an allegorical impulse that—as it appropriates conventional images into the work—critically brings the historical past into the present. In the oeuvres of Esquillo, we see this same allegorical impulse as the artist often alludes to colonizing powers by referencing popular historical images and integrating them into his work to piece together something relevant and present. In other words, the works of Esquillo deconstruct the spectacle, only to reconstruct what becomes an image and critique of a postcolonial Philippines. If history is traditionally written by the victors, then it is the artist the likes of Esquillo who seek to redress it from below—that is, from the reality of the Filipino people. The charm of the allegorical work is that it always presents an ‘ever-slippery reality,’ as Flores describes. In this Esquillo piece, truth teeters in between myth and reality as the ‘300-Year Old Slave’ appears reminiscent of the absurd hero Sisyphus in Greek mythology. Particularly curious here is the image of a Greek corinthian-style column carried by our new ‘Sisyphus’ in place of the boulder. Aside from the corinthian-style having been used in ancient Greek temples of old as well as in architecture of European antiquity, it is also recognizable in the governmental architecture of the US in buildings such as the Capitol and The Supreme Court. Notably, the usage of broken Greek columns is not an unfamiliar motif of Esquillo’s oeuvre as we see in his 2016 triptych The Colony as well as in the installations of his 2022 solo exhibition Bread and Circuses. Over the recent years, it has become a significant imagery in Esquillo’s works as he uses the Greek column to appropriate a piece of the empire and shed light on its inherently decrepit state that nonetheless continues to conquer postcolonies to this day. In this Esquillo work, the body of the ‘300-Year Old Slave’ has become eerily machine-like, the crushing weight of their burden seeming to have disfigured their anatomical form into something between mechanical and human. Is the machine-like slave conscious of their own wretched condition or is there no tragedy to glean from a machine that has simply accepted its fate? At the mercy of gods and empires, Esquillo’s absurd hero here teeters in between myth and reality. By alluding to the tale of Sisyphus, it critically presents the wretched and seemingly eternal fate of a postcolonial people. (Pie Tiausas)

    Leon Gallery
  • Alfredo Esquillo, Jr. (b. 1972) Golf Plan
    May. 27, 2023

    Alfredo Esquillo, Jr. (b. 1972) Golf Plan

    Est: $48,000 - $62,000

    Alfredo Esquillo, Jr. (b. 1972) Golf Plan 1997 signed and dated  10-1997; Hiraya Gallery and Metropolitan Museum of Manila labels on the reverse oil and sawdust on soldered rubber sheet 91 x 122.5 cm (35 13/16 x 48 1/4 in)

    Bonhams
  • Alfredo Esquillo, Jr. (b. 1972) Laban Ng Loob (Struggle Within)
    Dec. 03, 2022

    Alfredo Esquillo, Jr. (b. 1972) Laban Ng Loob (Struggle Within)

    Est: ₱120,000 - ₱156,000

    Laban Ng Loob (Struggle Within) signed and dated 2019 (lower right) oil and wood (frame) artwork: 25 1/4" x 19" (64 cm x 48 cm) frame: 39 1/4" x 31" (100 cm x 79 cm) In the Filipino context, loob refers to the ‘inner self.’ However, loob can also pertain to various concepts depending on the inherent value being emphasized. In this piece titled Laban ng Loob, Alfredo Esquillo Jr. depicts a photorealist face surrounded by four clenched fists that are struggling to be liberated from what seems to be images of thorns. Looking at the title, one can discern that Esquillo Jr. tackles contradictions within oneself in this piece. Here, loob is defined within the context of the endless cycle of contradictions and transformation, of learning and unlearning. Esquillo Jr. evokes the laborious practice of criticism and self-criticism, of piercing through the constant power play between opposing forces, i.e., ideas, emotions, needs, and wants. The artist expresses the perpetuity and universality of laban ng loob (struggle within), and one can go across it through tibay ng loob (resilience) and lakas ng loob (inner courage). Contradictions are constant, and so are our decisions and determination. As Mao Zedong said in his essay On Contradiction, “the law of contradiction in things, that is, the law of the unity of opposites is the fundamental law of nature and of society and therefore also the fundamental law of thought.” (A.M.)

    Leon Gallery
  • Alfredo Esquillo, Jr. (b. 1972) - The Clouds, Expecting; The Drama, Unfolding (triptych)
    Mar. 05, 2022

    Alfredo Esquillo, Jr. (b. 1972) - The Clouds, Expecting; The Drama, Unfolding (triptych)

    Est: ₱800,000 - ₱1,040,000

    The Clouds, Expecting; The Drama, Unfolding (triptych) signed and dated 2014 (lower right) oil on canvas 64" x 120" (163 cm x 305 cm) PROVENANCE Sotheby's Hong Kong, Modern And Contemporary Southeast Asian Paintings, Hong Kong, 5 October 2014, Lot 208 The works of Alfred Esquillo are often seen as imaginative representations of Philippine social life, and by extension, the human condition as well. Born in 1972, Esquillo received his formal schooling in painting from the University of Santo Tomas’ College of Fine Arts. Early in his career, Esquillo adopted the language of the magical and social realists, creating works that heavily adhered to their aesthetic canon. But, as Esquillo’s craft progressed, so did the underlying philosophy that guided his works. Esquillo’s works evolved from mere aestheticizations of scenes, to works that are inherently animated by contemporary culture, history, and identity. This newfound direction did not only inform his works, but allowed him to utilize a variety of religious, historical, and popular iconography as a way of disseminating with and engaging in critique. Though most of his works often revolve around themes relating to the post-colonial Filipino condition, Esquillo has proven that he is more than adept in handling more general and universal concepts relating to humanity as a whole.

    Leon Gallery
  • Alfredo Esquillo, Jr. (b. 1972)
    Jan. 29, 2022

    Alfredo Esquillo, Jr. (b. 1972)

    Est: ₱180,000 - ₱234,000

    Alfredo Esquillo, Jr. (b. 1972) Mall Culture signed and dated 1997 (lower right) mixed media 34” x 22” (86 cm x 56 cm)

    Leon Gallery
  • Alfredo Esquillo, Jr. (b. 1972) Garden Of Plastic Delights
    Dec. 04, 2021

    Alfredo Esquillo, Jr. (b. 1972) Garden Of Plastic Delights

    Est: ₱800,000 - ₱1,040,000

    Alfredo Esquillo, Jr. (b. 1972) Garden Of Plastic Delights signed and dated 2013 (lower left) oil on ethylene-vinyl acetate panel, triptych 60" x 36" (152 cm x 91 cm) each Sotheby's Hong Kong, Modern and Contemporary Southeast Asian Paintings, Hong Kong, 6 April 2013, Lot 206 Christie's Hong Kong, Asian Contemporary Art, Hong Kong, 26 November 2017, Lot 223 The works of Alfred Esquillo are often seen as imaginative representations of Philippine social life, and by extension, the human condition as well. Born in 1972, Esquillo received his formal schooling in painting from the University of Santo Tomas’ College of Fine Arts. Early in his career, Esquillo adopted the language of the magical and social realists, creating works that heavily adhered to their aesthetic canon. But, as Esquillo’s craft progressed, so did the underlying philosophy that guided his works. Esquillo’s works evolved from mere aestheticizations of scenes to works that are inherently animated by contemporary culture, history, and identity. This newfound direction did not only inform his works, but allowed him to utilize a variety of religious, historical, and popular iconography as a way of disseminating with and engaging in critique. Though most of his works often revolve around themes relating to the post-colonial Filipino condition, Esquillo has proven that he is more than adept at handling more general and universal concepts relating to humanity as a whole. This particular piece titled Garden Of Plastic Delights is a tongue-in-cheek interpretation and retelling of Hieronymus Bosch’s 15th century painting titled The Garden of Earthly Delights. Bosch’s work is presented as a triptych and features a somewhat chronological narrative structure. Though analyses are varied, the most common interpretation of the work is that it depicts man succumbing to fleeting pleasures of the mortal realm. When read from left to right, it starts off with a depiction of the creation story found in the book of Genesis, progresses to a mural containing individuals partaking in earthly desires, and ends in a panel depicting the absurd circumstances of eternal damnation. Esquillo’s work operates in the same fashion but is seen as less religious and more existential. The leftmost piece features an egg with two fingers acting as its legs. As the scene progresses, not only do the layers of the shell begin to peel off revealing a plastic doll, but the world around it begins to morph as well. Candycolored elements begin to fill the canvas, as plastic pacifiers rain down from the heavens. The once muted elements of the work have now taken a more artificial look. Esquillo’s work, like Bosch’s, seemingly depicts a fall from grace. But unlike the 15th-century master, Esquillo’s narrative implies that it is the very environment that we have made that has undoubtedly shaped our seemingly absurd contemporary condition.

    Leon Gallery
  • Alfredo Esquillo (b. 1972) Golf Plan
    Nov. 27, 2021

    Alfredo Esquillo (b. 1972) Golf Plan

    Est: $130,000 - $200,000

    Alfredo Esquillo (b. 1972) Golf Plan 1997 signed and dated  10-1997 oil and sawdust on soldered rubber sheet 91 by 122.5 cm. 35 13/16 by 48 1/4 in. For further information on this lot please visit the Bonhams website

    Bonhams
  • Alfredo Esquillo, Jr. (b. 1972)
    Jul. 17, 2021

    Alfredo Esquillo, Jr. (b. 1972)

    Est: ₱10,000 - ₱13,000

    Alfredo Esquillo, Jr. (b. 1972) Dove edition 6/12 fiberglass resin 15” x 11 1/2” x 4” (38 cm x 30 cm x 11 cm)

    Leon Gallery
  • Alfredo Esquillo, Jr. (b. 1972) - Dove
    Oct. 17, 2020

    Alfredo Esquillo, Jr. (b. 1972) - Dove

    Est: ₱40,000 - ₱52,000

    Alfredo Esquillo, Jr. (b. 1972) Dove fiberglass resin, edition 6/12 15” x 11 1/2” x 4” (38 cm x 30 cm x 11 cm)

    Leon Gallery
  • Alfredo Esquillo (b. 1972)
    Mar. 14, 2020

    Alfredo Esquillo (b. 1972)

    Est: ₱120,000 - ₱130,000

    Untitled

    Salcedo Auctions
  • Alfredo Esquillo (b. 1972)
    Mar. 14, 2020

    Alfredo Esquillo (b. 1972)

    Est: ₱110,000 - ₱120,000

    Untitled

    Salcedo Auctions
  • Alfredo Esquillo (b. 1972) - Megaphomaniacs 04, 2015
    Jan. 18, 2020

    Alfredo Esquillo (b. 1972) - Megaphomaniacs 04, 2015

    Est: ₱70,000 - ₱91,000

    Alfredo Esquillo (b. 1972) Megaphomaniacs 04, 2015 dated 2015 fiberglass reinforced resin, oil and acrylic 33" x 24" x 22" (84 cm x 61 cm x 56 cm)

    Leon Gallery
  • The Goddess, Multi-Tasking
    Nov. 30, 2019

    The Goddess, Multi-Tasking

    Est: ₱800,000 - ₱1,040,000

    Making the familiar unfamiliar, the art of Alfredo Esquillo Jr. loves to overturn expectations, moving inexorably from the studied social realism of his early career to a world of fantasy and a deeply personal surrealistic style that better reflects his vision of the country and the world. He has drawn on a wide range of international influences that speaks beyond the limits of cultural boundaries. His detailed visual intellectualism is in tune with his more poetic approach to art, whether social realist or folk-esoteric and this attitude influenced a number, if not all, of his works. This extremely dense picture is replete with symbolism, reflecting Esquillo’s interest in esoteric folksy themes, with latently magical elements all incorporated in a highly personal style. The handful of clothes iron circling her multiple legs, the laptop, the feather duster, and the hammer all connote that the subject is a goddess of the household. Even her showy headdress implies another Filipino passion: beauty contests with their requisite National Costume segment. Once again, Esquillo returns to the theme of the effect of profound religious faith on an apparently simple people, which had preoccupied him in some of his most important social realist works. His painting style captures quite cogently the hybrid cultures of the Philippines today. He paints off-the-beaten-path tableaux of Philippine social life, attempting to uncover the almost surreal ironies of a culture convulsing with myriad contradictions. The artist’s emergence in the Philippine contemporary art scene is noted for his credible competency in illustration and the retooling talent in figuration.

    Leon Gallery
  • ALFREDO ESQUILLO, Luzviminchin-chin
    Oct. 19, 2019

    ALFREDO ESQUILLO, Luzviminchin-chin

    Est: ₱300,000 - ₱400,000

    2018, oil on canvas, 36 x 36 in (91.4 x 91.4 cm)

    Finale Auctions
  • Alfredo Esquillo - (b.1972) - Eksit sa Itaas
    Sep. 14, 2019

    Alfredo Esquillo - (b.1972) - Eksit sa Itaas

    Est: ₱1,600,000 - ₱2,080,000

    Alfredo Esquillo (b.1972) Eksit sa Itaas signed and dated 1998 oil on sawdust canvas

    Leon Gallery
  • Alfredo Esquillo (b. 1972)
    Jun. 01, 2019

    Alfredo Esquillo (b. 1972)

    Est: ₱180,000 - ₱300,000

    Inspired by issues regarding faith and politics, Alfredo Esquillo employs the triptych form in order to depict a narrative. The transfiguration referred to here shows the artist's technique and skill, in harnessing this to create an iconography of complex topics, in this case, the sublimation of challenges in a cloud of uncertain mirth. Provenance: ARDNT, Berlin Literature: ARDNT, WASAK! Filipino Art Today (Distanz Publishers, 2015) Exhibitions: Transfigurations, ARDNT, Berlin, October - November 2015 Provenance: Property from an Important Art collection

    Salcedo Auctions
  • ALFREDO ESQUILLO (B. 1972) Triptych
    Mar. 09, 2019

    ALFREDO ESQUILLO (B. 1972) Triptych

    Est: ₱1,500,000 - ₱1,600,000

    ALFREDO ESQUILLO (B. 1972) Triptych 2013 Oil on canvas 152.4 x 91.4 cm (60 x 36 in) each

    Salcedo Auctions
  • Alfredo Esquillo Untitled
    Jan. 19, 2019

    Alfredo Esquillo Untitled

    Est: ₱12,000 - ₱15,600

    Alfredo Esquillo Untitled print 73/76 10” x 6” (25 cm x 15 cm) signed and dated 2009 (lower right)

    Leon Gallery
  • Alfredo Esquillo Jr. (b. 1972)
    Sep. 22, 2018

    Alfredo Esquillo Jr. (b. 1972)

    Est: ₱195,000 - ₱250,000

    Megaphomaniacs 04

    Salcedo Auctions
  • Alfredo Esquillo (b.1972)
    Sep. 08, 2018

    Alfredo Esquillo (b.1972)

    Est: ₱100,000 - ₱130,000

    Alfredo Esquillo (b.1972) Tagapagligtas In this work, Tagapagligtas, by Alfredo Esquillo, who is celebrating his 25th year as an artist, a crucifix is threatened to be engulfed by flood water as a figure (who, himself, is Christ-like) is shown to be carrying an icon of Christ removed from the cross. There are maze-like barriers between them, which convey their fundamental difference and separation. Perhaps, the crucifix represents organized religion while the figure symbolizes the faith of the common man as practiced in the world. The flood itself is Biblical; the branches shooting up indicate how high the water has risen. In his body of work, Esquillo has been exploring the concept of “loob,” the interiority that structures the life of the individual, inflecting his varied expressions of faith. In this painting, heventures: “Who is the one saving?” “What is being saved?” The answers to these questions are part of the revelation of the work’s “loob” as much as that of the one looking at it. signed and dated 1997 (lower right) mixed media 48” x 19” (122 cm x 48 cm)

    Leon Gallery
  • Alfredo Esquillo, Jr. (b.1972)
    Mar. 10, 2018

    Alfredo Esquillo, Jr. (b.1972)

    Est: ₱550,000 - ₱580,000

    Kite Flying on a Dark, Stormy Day

    Salcedo Auctions
  • Alfredo Esquillo Jr. (b.1972) Untitled
    Dec. 02, 2017

    Alfredo Esquillo Jr. (b.1972) Untitled

    Est: ₱300,000 - ₱390,000

    Alfredo Esquillo Jr. (b.1972) Untitled signed and dated 2005 (lower right) oil on canvas 60” x 36” (152 cm x 91 cm)

    Leon Gallery
  • Eksit sa Itaas
    Sep. 09, 2017

    Eksit sa Itaas

    Est: ₱1,600,000 - ₱2,080,000

    Alfredo Esquillo (b.1972) Quantity: 1

    Leon Gallery
  • Alfredo Esquillo Jr. (b.1972)
    Oct. 22, 2016

    Alfredo Esquillo Jr. (b.1972)

    Est: ₱80,000 - ₱104,000

    Alfredo Esquillo Jr. (b.1972) Megaphoniac resin H:33” x L:34” x W:18” (84 cm x 86 cm x 46 cm)

    Leon Gallery
  • Alfredo Esquillo (b. 1972)
    Sep. 17, 2016

    Alfredo Esquillo (b. 1972)

    Est: ₱1,400,000 - ₱1,800,000

    Huling Merienda ng Enero 9

    Salcedo Auctions
  • Alfredo Esquillo Jr. (b.1972)
    Sep. 10, 2016

    Alfredo Esquillo Jr. (b.1972)

    Est: ₱100,000 - ₱130,000

    Alfredo Esquillo Jr. (b.1972) Mall Culture signed and dated 1997 (lower right) mixed media 36” x 24” (92 cm x 61 cm)

    Leon Gallery
  • Alfredo Esquillo Jr. (b.1972)
    Sep. 10, 2016

    Alfredo Esquillo Jr. (b.1972)

    Est: ₱240,000 - ₱312,000

    Alfredo Esquillo Jr. (b.1972) Huling Paalam signed and dated 1997 (lower right) mixed media 38” x 28” (97 cm x 71 cm)

    Leon Gallery
  • Alfredo Esquillo Jr. (b.1972), In Transit
    Jun. 11, 2016

    Alfredo Esquillo Jr. (b.1972), In Transit

    Est: ₱60,000 - ₱78,000

    Alfredo Esquillo Jr. (b.1972), In Transit, signed and dated 2004 (lower right), oil on canvas, 12” x 18” (30 cm x 46 cm)

    Leon Gallery
  • Alfredo Esquillo -Untitled
    Mar. 12, 2016

    Alfredo Esquillo -Untitled

    Est: ₱160,000 - ₱180,000

    Mixed media

    Salcedo Auctions
  • ALFREDO ESQUILLO JR. (Filipino, B. 1972)
    May. 30, 2015

    ALFREDO ESQUILLO JR. (Filipino, B. 1972)

    Est: $450,000 - $550,000

    ALFREDO ESQUILLO JR. (Filipino, B. 1972) The Coming of the Plagues oil on ethylene-vinyl acetate (EVA) panel, triptych each: 240 x 120 cm. (94 1/2 x 47 1/4 in.) overall: 240 x 360 cm. (94 1/2 x 141 3/4 in.)

    Christie's
  • ALFREDO ESQUILLO, JR. | Re-Birth
    Apr. 05, 2015

    ALFREDO ESQUILLO, JR. | Re-Birth

    Est: $120,000 - $180,000

    Oil on ethylene-vinyl acetate, wood and brass relief (diptych)

    Sotheby's
  • Alfredo Esquillo, Jr. - Eksit sa Itaas
    Mar. 07, 2015

    Alfredo Esquillo, Jr. - Eksit sa Itaas

    Est: ₱1,300,000 - ₱1,500,000

    This masterpiece forms part of Esquillo's critically-acclaimed Matang-Dapa series of works from 1996-2007. Ensconcing his common folk subjects in mazes, the powerful imagery is suffused with palor and enveloped in a suffocating atmosphere that one wishes to escape. Trudging about aimlessly in search of a way out (an 'eksit'), Esquillo conveys a message of vain escapism, symbolized by the man hovering above the scene surrounded by wooden clouds playing on a flute like a Pied Piper leading the masses below to their oblivion. Seemingly, a view of religion as opiate in the relentless search for truth. This artwork was selected to be part of the travelling exhibition Cien Anos Despus, held on the occasion of the centennial commemoration of the Spanish-American War in 1898 which led to the independence of Cuba and the acquisition of Puerto Rico, Guam and the Philippines by the United States.

    Salcedo Auctions
  • Alfred Esquillo, Jr. - Blind Leading the Blind (Crossing)
    Mar. 07, 2015

    Alfred Esquillo, Jr. - Blind Leading the Blind (Crossing)

    Est: ₱1,500,000 - ₱1,700,000

    This monumental masterwork, inspired by turn of the century photographs depicting young girls attending the public schools set up by the American colonial government, is a stinging commentary on the position of the islands as a satellite outpost in the Far East - note the antenna sticking out of the Philippines on the globe held by the one heading the group - its affairs being run by remote control from Washington. Their eyes covered by star-shaped sunglasses - a reference perhaps to the allure of Hollywood, and the Westernization imposed by the benevolent colonizer - and tethered unto a wire overhead like a puppet, one cannot help but see the subjects who are walking towards an unknown destination as innocent victims unaware of what America has in store for them.

    Salcedo Auctions
  • Alfredo Esquillo Jr. (1972) Bwisiting Forces
    Nov. 29, 2014

    Alfredo Esquillo Jr. (1972) Bwisiting Forces

    Est: ₱140,000 - ₱182,000

    Alfredo Esquillo Jr. (1972) Bwisiting Forces signed and dated 2009 (lower right) oil on canvas 60" x 36" 153 cm x 91 cm Tin - Aw Art Gallery

    Leon Gallery
  • Alfredo Esquillo Jr. (1972)
    Sep. 13, 2014

    Alfredo Esquillo Jr. (1972)

    Est: ₱60,000 - ₱78,000

    Alfredo Esquillo Jr. (1972) Faithful Reproduction signed and dated 2003 (lower left) oil on canvas 36" x 18" (91 cm x 46 cm)

    Leon Gallery
  • Alfredo Esquillo (b. 1972)
    May. 26, 2013

    Alfredo Esquillo (b. 1972)

    Est: -

    Alfredo Esquillo (b. 1972) Thanksgiving Prayer signed dand dated 'Esquillo 2007' (lower right) oil on canvas 61 x 183 cm. (24 x 72 in.)

    Christie's
  • ALFREDO  ESQUILLO,  JR.
    Apr. 06, 2013

    ALFREDO  ESQUILLO,  JR.

    Est: $90,000 - $120,000

    B.  1972 GARDEN  OF  PLASTIC  DELIGHTS Signed  and  dated  2013 Oil  on  ethylene-vinyl  acetate  panel,  triptych Each:  152.5  by  91.5  cm.;  60  by  36  in. Overall:  152.5  by  274  cm.;  60  by  107  3/4    in.  (3)

    Sotheby's
  • Alfredo Esquillo, Jr.
    Sep. 22, 2012

    Alfredo Esquillo, Jr.

    Est: ₱800,000 - ₱900,000

    Alfredo Esquillo, Jr. Ritwal 1995

    Salcedo Auctions
  • Alfredo Esquillo, Jr.
    Sep. 22, 2012

    Alfredo Esquillo, Jr.

    Est: ₱85,000 - ₱95,000

    Alfredo Esquillo, Jr. Untitled 1998

    Salcedo Auctions
  • ALFREDO ESQUILLO JR. (b. The Philippines 1972)
    Nov. 30, 2009

    ALFREDO ESQUILLO JR. (b. The Philippines 1972)

    Est: $60,000 - $80,000

    ALFREDO ESQUILLO JR. (b. The Philippines 1972) Blind leading the blind (crossing) signed and dated 'Esquillo 2009' (lower right) oil on canvas 72 x 96 in. (183 x 244 cm.)

    Christie's
  • Alfredo Esquillo, Jr. , b. 1972 Tres Amigos (Three Friends) oil on canvas
    Apr. 05, 2009

    Alfredo Esquillo, Jr. , b. 1972 Tres Amigos (Three Friends) oil on canvas

    Est: $50,000 - $70,000

    signed and titled Tres Amigos on the reverse oil on canvas

    Sotheby's
  • Alfredo Esquillo, Jr. b. 1972 , Autotheater oil on canvas
    Oct. 06, 2008

    Alfredo Esquillo, Jr. b. 1972 , Autotheater oil on canvas

    Est: $50,000 - $70,000

    signed and dated 2008 lower right; signed and titled Autotheater on the reverse oil on canvas

    Sotheby's
  • Alfredo Esquillo, Jr. b. 1972 , Outnumbered oil on canvas
    Apr. 08, 2008

    Alfredo Esquillo, Jr. b. 1972 , Outnumbered oil on canvas

    Est: $45,000 - $75,000

    signed and dated 2005 lower right; signed, titled Outnumbered and dated 2005 on the reverse oil on canvas

    Sotheby's
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