Danilo Dalena Paintings & Artwork for Sale | Danilo Dalena Art Value Price Guide

Jan. 20, 2024
Danilo Dalena (b. 1942)
Est: ₱15,000 - ₱19,500
Male Nude signed and dated 1997 (lower right) watercolor on paper 8" x 6" (20 cm x 15 cm)
Leon Gallery
Dec. 02, 2023
Danilo Dalena (b. 1942) - Bwisit (Jai - Alai Series)
Est: ₱3,400,000 - ₱4,420,000
Bwisit (Jai - Alai Series) signed and dated 2000 (lower right) oil on canvas 48” x 36” (122 cm x 91 cm) PROVENANCE: León Gallery, The Asian Cultural Council Auction 2020, February 22, 2020, Lot 124 WRITE UPDanilo Dalena’s Jai-Alai series is perhaps the most iconic in his oeuvre; it has been exalted in the altar of his paintings as the “classic Dalena.” Scholar on Philippine art history Marilyn R. Canta, in her essay on Dalena’s Jai-Alai Series published in the CCP Encyclopedia of Philippine Art, describes the game as “a type of ball sport known for its speed. Moreover, the sport involves many types of betting, which require predictions on the score outcomes or comparative standing of players and/ or teams at the end of the games. Jai-alai is a very popular gambling sport, just like horse racing.” Dalena first delved into his now-highly coveted Jai-Alai series in 1974, the height of Martial Law, and exhibited them for the first time in 1978. Since then, Dalena has continued to visually expound on the series, exploring the myriad narratives and notions regarding the popular betting game that encapsulates the Filipino masses in their earnest declarations of faith, not in the Divine, but on the providential stroke of luck—placing brash confidence in mere coincidence. In her landmark 1987 monograph titled Social Realism in the Philippines, celebrated art critic Alice Guillermo describes Dalena’s art, along with Ang Kiukok’s, Onib Olmedo’s, and Bencab’s, as “representing a quest for symbols of the “human condition” and rather than particularly realist was expressionistic and bearing a strong individual and emotional stamp.” The Cultural Center of the Philippines Encyclopedia of Philippine Art writes: “…Guillermo remarked on how the betting hall in Dalena’s works may be seen as a metaphor of the human condition, particularly for Philippine society in a state of crisis.” In the work at hand, Dalena depicts an intriguing image of an ordinary Filipino family. Their bodies are distorted, rendered in the artist’s signature expressionistic curves and plumpness. These figures, although having faces rendered blank, exude disappointment and sheer chagrin, emphasized further by the dark, depressing, and seemingly cramped setting. As a poignant portrait of the ordinary Filipino family, Dalena’s Bwisit delves deeply into the masses’ protest against their distressing socio-economic conditions and resounding pleas for the betterment of such. The father—with his downtrodden gesture, perhaps due to betting all that his family has got yet succumbing to the elusiveness of luck, and the mother, who carries their baby in her tormented arms, signify the reality of many Filipino families. For many Filipino families, especially in the urban areas, gambling—although relying on one’s luck to challenge and change their fate—is their only bet in escaping the seemingly inescapable cycle of systemic poverty. Due to the state’s neglect and its prioritization of the self-serving interests of imperialists, bureaucrat-capitalists, and the big comprador-landlord class, the decreasing value of real wages and the continuous surge in prices of essential goods and services do not meet the needed family living wage to sustain a decent and dignified life. More than stories of social and moral vices, Dalena’s Jai-Alai Series delves more into the distressing human conditions borne from systemic exploitation and oppression. As a series first produced in one of the most turbulent and depressing periods in our history—one that continues to torment our nation today, the Jai-Alai Series galvanizes us to look deeper into our shared struggles with the oppressed masses and collectively march toward the path of radical change and genuine, inclusive progress. (Adrian Maranan)
Leon Gallery
Dec. 02, 2023
Danilo Dalena (b. 1942) - Talo (Jai-Alai Series)
Est: ₱300,000 - ₱390,000
Talo (Jai-Alai Series) signed and dated 1989 (lower left) oil on canvas 19 1/2” x 15 1/2” (50 cm x 39 cm) PROVENANCE: Acquired directly from the artis WRITE UPDanilo Dalena first made his mark as a scathing political cartoonist for the Free Press Philippine Leader. He further established his name with his Jai-Alai series which won him the first prize at the Art Association of the Philippines (AAP) competition in 1974. Jai-alai is a type of ball sport known for its speed but most importantly, it incorporates betting in its game. And as with games with a multitude of bettors, it is likely for one to lose than to win. This is what Dalena depicts in 1989 Talo, which is the Tagalog word for “lose.” Here the loser leans his head against the wall, dejected and forlorn, with betting slips strewn all over the floor. With its morose color scheme and the short brush strokes, Talo depicts the nightmarish scene of losing a bet. (Hannah Valiente)
Leon Gallery
Dec. 02, 2023
Danilo Dalena (b. 1942) - Portrait of Eduardo Reyes
Est: ₱100,000 - ₱130,000
Portrait of Eduardo Reyes signed and dated 1986 (lower right) pastel on paper 28” x 22”(61cmx 56cm) PROVENANCE: Acquired directly from the artist WRITE UP1972 Cultural Center of the Philippines (CCP) Thirteen Artists Award recipient, Danilo Dalena first rose to prominence with his sharp political cartoons before venturing to painting. Part of the social realism movement, Dalena's canvases have a suffocating quality that aims to expose the “very humanness of humans.” Though his works comment on prevailing social conditions, he is also known for his portraits. What sets his portraits apart, though, is his inclination to treat the backgrounds as a part of them of his subjects too. In his 1986 work Portrait of Eduardo Reyes, Dalena puts Reyes at the center stage with a plain complementary background. In his “Filipino everyman” art style, Dalena brings art to the common people, bringing with him a cheeky understanding of Filipino society.
Leon Gallery
Dec. 02, 2023
Danilo Dalena (b. 1942) - a) Dalena Navigating the Stairs b) Mahal kong Eddie c) Eddie, Aking Kababata
Est: ₱80,000 - ₱104,000
a) Dalena Navigating the Stairs signed and dated 2022 (lower right) pen and ink on paper 9" x 7 1/2" (23 cm x 19 cm) b) Mahal kong Eddie signed and dated 2017(lower right) pen and ink on paper 9" x 6 1/4" (22 cm x 16 cm) c) Eddie, Aking Kababata signed and dated 2008 (upper right) pen and ink on paper 12" x 8" (30 cm x 20 cm) PROVENANCE Acquired directly from the artist WRITE UP My Friendship with Danilo Dalena Insight the the Master and His Art by EDUARDO REYES Dalena has been a childhood friend of mine since grade school and college days. We both lived on Kamuning Street, and our houses were opposite each other. Another childhood friend is Ted Javier, whose parents own the iconic Kamuning Bakery. Even when Dalena was in Grade 6, he had been doing lots of sketches of mostly superheroes (Marvel type), and I noticed his keen sight of details. Lots of our friends would gather around him while doing sketches, and most of the time, he would hand them to somebody. Sometimes, we would sit together, and I’d do some sketches, but my interest in the subject was more on drawing buildings. I finished my degree in Architecture at the University of Santo Tomas; Dalena finished his Fine Arts degree at the same school. During our college years, we would “beer garden” with GROs, and most of the time, there would be live shows to entertain customers. Girls would parade with almost nothing on them. I think these events were why the series “Alibangbang “and “Naked Ladies” evolved. My brother-in-law, Atty Francisco Serrano, served as an advisor to lots of “Pelotario” players in Jai-Alai. Due to this, we gained access to most events for free, and this is where you’ll see lots of people placing bets to win by betting with a combination of numbers and hoping they win the jackpot. But you’ll see lots of reactions when they lose their bet. These events created the “Jai-Alai “series by Dalena. Dalena, during his early years, sometimes would come out short of funds with three daughters to support. He usually asked for a loan from my mother, who owned a stall at the Kamuning markets selling dry goods, jewelry, and lending money. Dalena treated my mother as his second mother. One of the sketches Dalena prepared for me shows my mother, “Ima,” sitting at the desk with IOU’s notes posted, and Dalena’s name was there. I have been visiting Dalena every time I visit Manila in the last 12 years, and we sit down and recall various incidents that happened many years back. We were born the same year and talked about getting older. One of the sketches he prepared for me showed his difficulty navigating their stairs with a walker. Dalena, maybe around ten years or so, was hit by a tricycle from behind. Dalena, at that time, had a hearing problem because he said he used the end of his brush to scratch the inside of his ears. After the accident, he had a major operation that affected the nerve in his hands, and he was worried he couldn’t paint anymore. But after almost two years of physical therapy, his hands returned to normal. Also worth mentioning is that during our early years, we did have lots of “Jam Sessions” events attended by our friends around the area. Dalena was really not a good dancer. But I noticed he would make a point to dance with girls not taken by others to dance. Dalena would approach and ask the girl to dance with him. The girl might not be that pretty or a good dancer, but Dalena would make a point to dance with most girls who were left behind. In another incident, Dalena told me he was selected as the “judge” in an important painting contest. However, he was unable to enter the building because the security guard would not let him in due to his attire: straw hat, clogs (bakya) clothes like “pajamas,” and a purse around his waist like a tin can. He could not convince the guard that he was really needed for the event. It just so happened that one of the event organizers noticed him and waved to the guard to let him in. As soon as he passed the guard, Dalena turned around and stuck his tongue out towards the guard! Dalena and I hope to live a few more years to share our early years of experience and recall the ups & downs that happened during our lifetime.
Leon Gallery
Oct. 21, 2023
Danilo Dalena (b. 1942)
Est: ₱50,000 - ₱65,000
Nude signed and dated 1997 (lower left) pen and ink and watercolor wash on paper 11” x 9” (28 cm x 23 cm)
Leon Gallery
Dec. 03, 2022
Danilo Dalena (b. 1942) Quiapo
Est: ₱5,000,000 - ₱6,500,000
Quiapo signed and dated 1996 (lower right) oil on canvas 48" x 82" (122 cm x 208 cm) PROVENANCE: Acquired directly from the artist EXHIBITED: Cultural Center of the Philippines, Last Full Show: Danilo Dalena Retrospective, Manila, December 10, 2016 - March 4, 2017 LITERATURE: Cultural Center of the Philippines, Last Full Show: Danilo Dalena Retrospective (Exhibition Catalog). Manila: Cultural Center of the Philippines, Danilo Dalena, and Dalena Research Initiative, 2018. Published following the exhibition of the same name at the CCP in 2016-17. Listed on page 36 as 'Quiapo' under the Quiapo Ilalim Series. F rom late 2016 to early 2017, Danilo Dalena held a retrospective exhibit at the Cultural Center of the Philippines. Titled Last Full Show, it was Dalena's first solo exhibition after almost two decades. The works in the exhibition showcase the most important works by the esteemed artist, spanning more than five decades, and represent Dalena's creative journey. On the fifth anniversary of the retrospective, Leon Gallery has the privilege of offering in this sale a piece from that comeback show—the largest of Dalena's works to enter the market. Titled Quiapo, the work's composition contrasts its straightforward title, for it is inarguably the most beautiful, intricate, and detailed of Dalena's paintings. Danilo Dalena's Quiapo paintings bear the hallmarks of what Alice Guillermo describes as "a quest for the symbols of the 'human condition.'" When the idea of the Quiapo paintings first struck Dalena in 1979, the country was severely suffering from the throes of hunger and poverty, caused by soaring prices of commodities, decreasing real wages, escalating foreign debt, and further exacerbated by the global oil crisis of that year, which greatly affected the country due to our semi-colonial and semi-feudal state. Among the subjects of the Quiapo paintings is the Filipinos' enduring devotion to the Black Nazarene, which Dalena strips of any hagiographic or excessively romantic undertones. Here, he depicts faith and devotion as an implicit yet powerful form of resistance. In the case of the work at hand, Dalena depicts a familiar annual tradition: the traslación of the Black Nazarene passing through the narrow and winding streets of Quiapo. Here, the image of the Black Nazarene blends with the wave of devotees. Through his powerful brushstroke, Dalena evokes the union of the divine and the mundane. It is as if God had become incarnate once more, descending from the heavens not as a redeemer but to partake in the tribulations of His people. The suffering Christ, from whom the devotees see their own suffering, becomes one and the same. Dalena's Quiapo is an image of a liberating Christianity—transforming the image of Christ from an imperial divine to a radical being persecuted by a despotic system. The masses' devotion to the Black Nazarene is more than just an expression of faith; it is a collective act of articulating their grievances toward an oppressive system and their continuing struggle for genuine liberation from the shackles of enslavement, thus manifesting strength in solidarity. As the andas of the Black Nazarene move throughout Quiapo, the city's entrenched trauma is revealed. Therefore, the piece also critiques society's ills; how the oppressed are left vulnerable in the face of the government's futility. The same conditions still prevail as when Dalena started his Quiapo paintings in 1979—the masses are exploited, the rich become richer, and the state remains subservient to the interests of the powerful. Yet, like the gradual movement of the Black Nazarene's andas, it becomes palpable that the power to instigate the flames of radical change lies in the hands of the oppressed. Karl Marx says: "Religion...is the sigh of the oppressed creature, the heart of a heartless world, and the soul of our soulless conditions." The masses' propensity toward religion should not be seen as indifference to an inhumane system. In the face of crisis, they see and use religion as a powerful avenue for protest and resistance. (A.M.)
Leon Gallery
Apr. 23, 2022
Danilo Dalena (b. 1942) - Untitled 2
Est: ₱30,000 - ₱39,000
Danilo Dalena (b. 1942) Untitled 2 signed and dated 2013 (lower left) ink and watercolor wash ink and watercolor wash 12 1/2” x 9 1/2” (32 cm x 24 cm) image size: 7 1/2” x 5” (19 cm x 13 cm) Accompanied by a certificate issued by Liongoren Gallery and signed by the artist confirming the authenticity of this lot
Leon Gallery
Apr. 09, 2021
Bernardo Pacquing (b. 1969)
Est: ₱40,000 - ₱52,000
Bernardo Pacquing (b. 1969) Untitled signed and dated 1997 (lower left) acrylic on paper 14” x 10 1/2” (36 cm x 27 cm)
Leon Gallery
Dec. 03, 2020
DANILO E. DALENA (B. 1943) Untitled (Alibangbang Series) oil on canvas 36 x
Est: $70,000 - $90,000
DANILO E. DALENA (B. 1943) Untitled (Alibangbang Series) oil on canvas 36 x 28 cm. (14 1/8 x 11 in.)
Christie's
Oct. 17, 2020
Danilo Dalena (b. 1942) - Untitled (Nude)
Est: ₱10,000 - ₱13,000
Danilo Dalena (b. 1942) Untitled (Nude) signed and dated 2009 (lower left) print, 179/3179 8” x 5” (20 cm x 13 cm)
Leon Gallery
Sep. 19, 2020
Danilo Dalena (b. 1942) - Jai-Alai Series
Est: ₱2,400,000 - ₱3,120,000
Danilo Dalena (b. 1942) Jai-Alai Series signed and dated 1980 (verso) oil on canvas An exemplary Filipino realist-impressionist artist, Danilo Dalena studied fine arts under National Artist Victorio Edades and Galo Ocampo. He made a mark in the early seventies with his unflinching editorial cartoons and illustrations for the Philippines Free Press and Asia-Philippines Leader, working with some of the greats like José “Pete” Lacaba, Greg Brillantes, and National Artist Nick Joaquin. During the Martial Law years, Dalena produced his Jai-Alai series, inspired by the Spanish Basque sport adapted in the country. In 1974, he won First Prize for his painting Tres-Seis Dejado that features lost bettors in the old Jai Alai fronton, Taft Avenue, in the Art Association of the Philippines (AAP) contest. He bested Ang Kiukok, Jose Joya, and Onib Olmedo in 1980 as he won the Grand Prize in the Mobil Art Awards for his Jai-Alai as Metaphor piece. His art composed of ordinary people reveals wit, humor, and irreverence. A narrative quality is also apparent in his works, often linked with his close association with Joaquin. This particular 1980 piece is part of his Jai-ALai series, featuring lush and fleshy bodies in earth tones. Dalena depicts his figures as he sees them, capturing the Filipino psyche. Estimate in USD $48000-$62400
Leon Gallery
Jul. 18, 2020
Danilo Dalena (b. 1942) - Untitled (Woman)
Est: ₱12,000 - ₱15,600
Danilo Dalena (b. 1942) Untitled (Woman) signed and dated 1980 (lower right) etching 10” x 8 1/2” (25 cm x 22 cm) Estimate: USD $240-$312 Euros €200-€260
Leon Gallery
Jun. 20, 2020
Danilo Dalena (b. 1942) - Exercise series
Est: ₱1,800,000 - ₱2,340,000
Danilo Dalena (b. 1942) Exercise series signed and dated 1999 (bottom) oil on canvas 36” x 48” (91 cm x 122 cm) Estimate USD $36000-$46800 Estimate Euros €30000-€39000
Leon Gallery
Feb. 22, 2020
Danilo Dalena , (b. 1942), Bwisit (Irritant), Jai Alai Series, signed and dated 2000 (lower right), oil on canvas
Est: ₱2,200,000 - ₱2,860,000
Danilo Dalena , (b. 1942) , Bwisit (Irritant), Jai Alai Series , signed and dated 2000 (lower right) , oil on canvas 48” x 36” (122 cm x 91 cm),
Leon Gallery
Sep. 14, 2019
Danilo Dalena - 1942 - Naninilip
Est: ₱3,200,000 - ₱4,160,000
Danilo Dalena 1942 Naninilip signed and dated 2000 (lower right) oil on canvas In Danilo Dalena’s crowd paintings, the people are not mere numerical groupings of figures. For one, they are highly cohesive, seemingly possessed by a common force in the contagion of pressing bodies. More important, they are marked by a strong and undeniable physicality. The figures themselves, banal yet tense, altogether convey that a haphazardly significant moment is about to happen. In these paintings which he started to do during the bleak Martial law years, the betting hall and the swarming of masses in search of luck became a metaphor for the human condition, particularly for Philippine society in crisis. Even in depicting a period of urban decline and corruption, Dalena’s art manages to retain its straightforwardness. His satire, while caustic and cutting, is not all dark and heavy. It always bears a note of humor, like a left-handed compliment. And this is where he is part of what he satirizes; this is where Dalena is soul brother to the shadowy night denizens and to the down and out habit of betting halls and beer joints.
Leon Gallery
Jun. 01, 2019
Danilo Dalena (b. 1942)
Est: ₱85,000 - ₱95,000
The copper red palette imbues this still life of a Santo Niño image with a warm quality-- like skin painted in blush tones. Though embodied in an inanimate figure, the vision of faith brings the Santo Niño to life as an ever-present guardian for devotees and their families. Sentient and just, the young figure of Jesus shows loving concern, sacred heart in hand as a reminder of His unconditional sacrifice.
Salcedo Auctions
Jun. 01, 2019
Danilo Dalena (b. 1942)
Est: ₱20,000 - ₱22,000
Famed for his ability to capture the rawest of emotions in moving social realist pieces, Danilo Dalena translates the tension that weighs on his model's body, brusque strokes of muted color highlighting the crevices of her body. As in his Hapao series, Dalena showcases the body as an icon for emotion, a mode of expression, and the medium by which we express otherwise intangible thoughts.
Salcedo Auctions
Dec. 01, 2018
Danilo Dalena (b.1942) “Game Over” Jai-Alai Series
Est: ₱2,000,000 - ₱2,600,000
Danilo Dalena (b.1942) “Game Over” Jai-Alai Series signed and dated 1982 (lower right) oil on canvas 22” x 43” (56 cm x 109 cm) The Jai Alai series in oil on canvas was a culmination of the figure drawings now rendered in paintings of epic perspective on the subject of swarming masses in search of luck or miraculous relief. The view of these crowds, these masses of people straining for relief in a precarious existence, their single-minded pursuit of luck, becomes a staggering and unforgettable image of Dalena’s work. The game, like an arbitrary flow of dice, with its winning combination of numbers, mesmerizes and provokes in the crowds of the oppressed and unemployed a temporary heightened existence compounded by hope and despair, by monstrous jubilation and drunken desponcy. In these paintings, done in the bleak martial law years, the betting hall becomes a metaphor for the human condition, particularly for society in crisis.
Leon Gallery
Sep. 22, 2018
Danilo Dalena (b. 1942)
Est: ₱16,000 - ₱18,000
Hapo (Exercise Series)
Salcedo Auctions
Sep. 22, 2018
Danilo Dalena (b. 1942)
Est: ₱3,500,000 - ₱3,800,000
Table #1 (Alibangbang series)
Salcedo Auctions
Jun. 09, 2018
”Dancing Boots” Alibangbang Series
Est: ₱1,400,000 - ₱1,820,000
”Dancing Boots” Alibangbang Series
Leon Gallery
Jun. 09, 2018
Taluhan “Jai Alai Series”
Est: ₱800,000 - ₱1,040,000
Taluhan “Jai Alai Series”
Leon Gallery
Jun. 09, 2018
Lubid (Quiapo Ilalim Series)
Est: ₱800,000 - ₱1,040,000
Lubid (Quiapo Ilalim Series)
Leon Gallery
Jun. 09, 2018
Untitled / Nude
Est: ₱120,000 - ₱156,000
Untitled / Nude
Leon Gallery
Mar. 03, 2018
Danilo Dalena (b.1942) Alibangbang Series
Est: ₱1,200,000 - ₱1,560,000
Danilo Dalena (b.1942) Alibangbang Series signed and dated 1990 (lower left) oil on canvas
Leon Gallery
Feb. 18, 2017
Danilo Dalena (b.1942) a.) Nude 1, b.) Nude 2
Est: ₱18,000 - ₱23,400
Danilo Dalena (b.1942) a.) Nude 1, b.) Nude 2 Both: signed and dated 1983 (lower left) Both: etching 1983 Both: 11” x 8” (28 cm x 20 cm)
Leon Gallery
Oct. 22, 2016
Danilo Dalena (b.1942)
Est: ₱25,000 - ₱32,500
Danilo Dalena (b.1942) Nude signed and dated 1983 (lower left) pencil on paper 5 1/4” x 7 1/2” (13 cm x 19 cm)
Leon Gallery
Sep. 17, 2016
Danilo Dalena (b. 1942)
Est: ₱600,000 - ₱680,000
Bangungot
Salcedo Auctions
Jul. 30, 2016
Danilo Dalena (b.1942)
Est: ₱20,000 - ₱26,000
Danilo Dalena (b.1942) Sawa-Sawa at Sanga-Sangang Diwa ng Edsa signed and dated 1989 (lower left) etching 36” x 36” (91 cm x 91 cm)
Leon Gallery
Feb. 20, 2016
Danilo Dalena (b.1942) Tulog-Tulog (Jai-Alai Series)
Est: ₱600,000 - ₱780,000
Danilo Dalena (b.1942) Tulog-Tulog (Jai-Alai Series) signed and dated 1975 (lower right) oil on canvas 29 1/2 x 39 (75 cm x 100 cm)
Leon Gallery
Feb. 20, 2016
Danilo Dalena (b.1942) Nude
Est: ₱180,000 - ₱234,000
Danilo Dalena (b.1942) Nude signed and dated 1982 (lower right) oil on canvas 24 x 24 (61 cm x 61 cm)
Leon Gallery
Feb. 20, 2016
Danilo Dalena (b.1942) Tulog-Talo (Jai-Ali Series)
Est: ₱180,000 - ₱234,000
Danilo Dalena (b.1942) Tulog-Talo (Jai-Ali Series) signed and dated 1981 (lower left) oil on canvas 16 x 16 (41 cm x 41 cm) PROPERTY FROM THE COLLECTION OF A VERY DISTINGUISHED COUPLE
Leon Gallery
Dec. 05, 2015
Danilo Dalena (b.1942)
Est: ₱180,000 - ₱234,000
Danilo Dalena (b.1942) a.) Untitled 1 signed and dated 2009 (lower left) pastel on paper 9 1/2” x 7 1/2” (24 cm x 18 cm) Danilo Dalena (b.1942) b.) Untitled 2 signed and dated 1995 (bottom) pen and ink on paper 8 1/2” x 5 1/2” (22 cm x 14 cm) Danilo Dalena (b.1942) c.) Untitled 3 signed and dated 2014 (upper right) ink and watercolor wash 7” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) d.) Untitled 4 signed and dated 2013 (lower left) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) e.) Untitled 5 signed and dated 2012 (lower left) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) f.) Untitled 6 signed and dated 2010 (lower left) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) g.) Nude Series signed and dated 2000 (upper left) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) h.) Untitled 7 signed and dated 2002 (upper left) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) i.) Lourdes Series signed and dated 2003 (right) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) j.) Excercise Series signed and dated 2005 (lower left) ink and watercolor wash 7 3/8” x 5” (19 cm x 13 cm) Danilo Dalena (b.1942) k.) Dapithapon signed and dated 2006 (upper left) ink and watercolor wash 7 3/8” x 5” (19 cm x 13 cm) Danilo Dalena (b.1942) l.) Untitled 8 signed and dated 2007 (lower left) ink and watercolor wash 7 3/8” x 5” (19 cm x 13 cm) Danilo Dalena (b.1942) m.) Untitled 9 signed and dated 2008 (lower left) ink and watercolor wash 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) n.) Untitled 10 signed and dated 1995 (upper left) watercolor on paper 8 1/2” x 6 1/4” (22 cm x 16 cm) Danilo Dalena (b.1942) o.) Excercise signed and dated 1999 (upper left) mono print 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) p.) Untitled 11 signed and dated 1993 (lower right) mono print 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) q.) Untitled 12 signed and dated 1991 (lower left) mono print 7 1/4” x 5” (18 cm x 13 cm) Danilo Dalena (b.1942) r.) Untitled 13 signed and dated 1999 (lower right) mono print 7 1/4” x 5” (18 cm x 13 cm)
Leon Gallery

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