Dino Gabito Paintings & Artwork for Sale | Dino Gabito Art Value Price Guide

Jun. 17, 2023
Dino Gabito (b. 1989)
Est: ₱700,000 - ₱910,000
Shroud No. 61 signed (lower right) oil on canvas 48" x 72" (122 cm x 183 cm) Accompanied by a certificate issued by The Metro Gallery and signed by the artist confirming the authenticity of this lot EXHIBITED: The Metro Gallery, Setback, San Juan, April - May 2018 The shroud has enjoyed a long history of use and symbolism throughout history and across multiple cultures. The origins of the shroud can be traced back to ancient times, with evidence of its use for protective, ritualistic, and most commonly, burial practices. The ancient Egyptians, for instance, wrapped their mummified bodies in linen shrouds, believing in their protective powers in the afterlife. Similarly, other civilizations, including the Greeks and Romans, adopted the practice of shrouding their deceased with fine fabrics. Another early use of a shroud can be found within the pre-colonial nations of North America where it was common practice to wrap the deceased in animal skin, while across the Pacific, Aboriginals were practicing something similar with animal skins, wild herbs, and flowers. It is thus no surprise that often associated with burial, has been woven into the tapestry of religious, scientific, and artistic discourse. Many objects of importance and works of art have concerned themselves with the mysterious allure of the shroud. From relics such as the Shroud of Turin and the Sudarium of Oviedo, to more recent pieces such as Shirazeh Houshiary’s 2000 piece titled Shroud. One might see humanity’s shared interest in the use of the shroud as an act of concealment. But, in true dialectical fashion, one can argue that the things we conceal, in turn, reveal something else. In our attempt to conceal the dead, one might suggest that such an act is an act born out of a fear of losing one’s humanity. Whether one ascribes our innate uniqueness in the chain of being towards our souls, minds, or rationality, it is often painstakingly clear that in death, whatever that is is now gone. In the use of the shroud we reveal our insecurities, our vulnerabilities. But Dino Gabito’s now iconic use of the shroud in his artistic practice has seemingly turned a perceived fear over its head. Unlike most popular iterations of the shroud, whether for ritualistic or aesthetic purposes, Gabito’s shroud is depicted as dynamic, moving, almost as if it were alive. Such an approach is arguably uncommon, if not novel. In doing so, Gabito seemingly suggests that our humanity is located not in what separates us from other beings, but in our awareness that much like everything else, we are vulnerable as well. Gabito’s shroud no longer exists to conceal, but to reveal that even in our most vulnerable states we are bursting through the seams. (J.D.)
Leon Gallery
Apr. 22, 2023
Dino Gabito (b. 1989) Exotic
Est: ₱30,000 - ₱39,000
Dino Gabito (b. 1989) Exotic signed (lower right) graphite and watercolor on paper 10” x 8” (25 cm x 20 cm)
Leon Gallery
Apr. 22, 2023
Dino Gabito (b. 1989) Free
Est: ₱30,000 - ₱39,000
Dino Gabito (b. 1989) Free signed (lower right) graphite and watercolor on paper 10” x 8” (25 cm x 20 cm)
Leon Gallery
Apr. 22, 2023
Dino Gabito (b. 1989) Untitled
Est: ₱50,000 - ₱65,000
Dino Gabito (b. 1989) Untitled signed (lower right) graphite on paper 19 1/2” x 14 1/2” (49 cm x 37 cm) Like apparitions of which they are anything but, in Dino Gabito’s mysterious figures works, what we see is only the covering, evoked by the folds of the drapery. While we can glean through the human figures underneath them, we are given nothing else, only the willful effort against disclosure. Gabito is no ordinary artist. Since he was still in his early twenties, even as a fresh graduate from the University of Santo Tomas, he is already widely recognized and his works are sought after by collectors, having held various shows. At a young age, he has found his signature style with his covered subjects extending beyond the frame’s borders. What sets Gabito’s shrouding technique apart from the others lies in his perception of drapery as an abstract image that can be utilized to create illusion. The rendered shroud is also not draped over the dead but to an alive being. There is the genius play of light and shadow, and the concealed form comes to life with the artist’s focus on shape and character, all of which are evident in this particular work. In asserting the presence of absence, Gabito, in an act of negation, makes manifest the unknowable nature of the self. (J.D.)
Leon Gallery
Jul. 30, 2022
Dino Gabito (b. 1989)
Est: ₱20,000 - ₱26,000
Dino Gabito (b. 1989) Untitled signed (lower right) graphite and acrylic on paper 11” x 8” (28 cm x 20 cm)
Leon Gallery
Jul. 30, 2022
Dino Gabito (b. 1989)
Est: ₱25,000 - ₱32,500
Dino Gabito (b. 1989) Dare signed (lower right) graphite and acrylic on paper 8 1/2” x 6 3/4” (22 cm x 17 cm)
Leon Gallery
Sep. 11, 2021
Dino Gabito (b. 1989) Grounded
Est: ₱140,000 - ₱182,000
Dino Gabito (b. 1989) Grounded signed (lower right) dated 2018 graphite on paper with frame: 48" x 36" (122 cm x 91 cm) P 140,000 Provenance Leon Gallery, The Magnificent September Auction, September 14, 2019, Makati City, Lot 64. The drapery series of Dino Gabito was originally intended, he says, as a respite from the emotionally taxing, painstakingly created ‘Shroud’ paintings for which this artist is famous. But that would not be the case — Gabito would become so obsessive with the execution of these equally rare pieces that they would not present much rest for his curious soul and have instead taken on an importance of their own. In the work Grounded, the loose folds are no longer solid shapes but ethereal forms made even more delicate through the graphite shadings of lace patterns. Along its edges is a woven pattern so meticulously detailed to be beyond real: A small tear on the cloud-like fabric adds that necessary imperfection to bring it back to earth. Gabito — whose sought-after canvases spill over its painted borders — applied the same technique to this piece. Here, however, he has collaborated with his framer to have the work overflow on to the actual matting and he has cut parts of the paper to heighten that illusion. It is a tour de force all of its own, a tribute to Gabito’s restless spirit and quiet authenticity. (Lisa Guerrero Nakpil)
Leon Gallery
Jul. 16, 2021
Dino Gabito (b. 1989) - Shroud 14
Est: ₱100,000 - ₱130,000
Dino Gabito (b. 1989) Shroud 14 signed (lower right) dated 2013 graphite on board 20” x 15” (51 cm x 38 cm)
Leon Gallery
Jun. 05, 2021
Dino Gabito (b. 1989)
Est: ₱400,000 - ₱520,000
Dino Gabito (b. 1989) The XIV Station signed (lower right) dated 2014 (verso) oil on canvas 30” x 40” (76 cm x 102 cm) Exhibited: Anonymous, J Studio, Veteran’s Complex, Taguig City, 2014 Dino Gabito has been steadfastly manifesting his enigmatic artistry in Philippine contemporary art, showing beyond doubt that his virtuosity is a force to be reckoned with. His works are imbued with a somber and subdued atmosphere, disproving the notion that art collectors and critics alike are antagonistic towards themes depicting doleful subjects, taking into account the abundance of collectors interested in acquiring a Gabito masterpiece. The XIV Station, an allusion to the 14th Station of the Cross wherein Christ’s body is laid in his tomb, manifests itself as an inquiry to the ambiguity of our disposition. This is one of the very few oils on canvas paintings by Gabito wherein the figure is unshrouded. In contrast to his accustomed employment of the shrouded figure as a profound question concerning the sensibilities of our nature, this piece pushes us to grapple with the adversities of closure. The artist urges his audience to grasp the realization that it is only when life goes from one kind of presence to another that we can ever come to a new genesis. In exerting an otherworldly presence, Gabito propounds on our perplexities, with the figure transpiring itself as an allegory for coming into terms with a revivified existence.
Leon Gallery
Nov. 28, 2020
Lot 27 is fused with Lot 26 and sold as single Lot
Est: ₱1,000 - ₱1,001
Lot 27 is fused with Lot 26 and sold as single Lot
Leon Gallery
Nov. 28, 2020
Dino Gabito (b. 1989) - Shroud: Ides of March l and March II
Est: ₱1,000,000 - ₱1,300,000
Dino Gabito (b. 1989) Shroud: Ides of March l and March II signed (lower right) oil on canvas Estimate USD : $10000-$13000 Estimate Euros : €8333.33-€10833.33
Leon Gallery
Oct. 17, 2020
Dino Gabito (b. 1989) - Shroud
Est: ₱20,000 - ₱26,000
Dino Gabito (b. 1989) Shroud signed (lower right) graphite on paper 10” x 8” (25 cm x 20 cm)
Leon Gallery
Sep. 19, 2020
Dino Gabito (b. 1989) - Monster Ball (Shroud # 5) (After Altamash Urooj's "Boundary - The Vast Expanse Series", 2012)
Est: ₱800,000 - ₱1,040,000
Dino Gabito (b. 1989) Monster Ball (Shroud#5) (After Altamash Urooj's "Boundary - The Vast Expanse Series", 2012) signed and dated 2012 (lower right) oil on canvas The shrouded figure has been used by Dino Gabito, one of the exciting contemporary artists in the current art scene in the country, in his artworks which were exhibited in his celebrated solo exhibitions. Critic Cid Reyes wrote that Gabito has consistently used this trope as “an inquiry into the nature of the self.” Gabito’s works lead the eye to attempt reading gestures, curious as to what the figures convey. Another notable feature in the evolution of his shroud paintings is the suggestive quality of life shown by his draped figures, the opposite of the usual use of the shroud as an enveloping garment over a dead person’s body for burial. This alluring piece comes as a commentary on the human condition in which shrouds reveal more than cover—figures either embrace themselves or hint desires to break free. The figures appear highly sculptural with the elegant folds of drapery and captured movements rendered by Gabito’s deft hand, all open for interpretation. The maturing brilliant artist’s shroud works have a certain darkness and mystery to the awe and fascination of collectors highly interested to acquire these pieces. Gabito’s drawn to the art of drapery because of his mother, a nurse whose side job is making clothes. Growing up, he was also surrounded by textile. Painting shrouds has become his signature version of portraiture, which started during his early artist years when he placed fabric over a person and rendered the image on canvas. Gabito studied painting at the University of Santo Tomas’ College of Fine Arts. Estimate in USD $16000-$20800
Leon Gallery
Jun. 20, 2020
Dino Gabito (b. 1989) - Untitled
Est: ₱240,000 - ₱312,000
Dino Gabito (b. 1989) Shroud # 1 signed (lower right) oil on canvas 48” x 36” (122 cm x 91 cm) Estimate USD $4800-$6240 Estimate Euros €4000-€5200
Leon Gallery
May. 30, 2020
Dino Gabito (b. 1989) - Untitled (After Matisse)
Est: ₱15,000 - ₱19,500
Dino Gabito (b. 1989) Untitled (After Matisse) signed (lower right) mixed media 24” x 36” (61 cm x 91 cm)
Leon Gallery
Sep. 14, 2019
Dino Gabito - (b.1989) - Grounded
Est: ₱40,000 - ₱52,000
Dino Gabito (b.1989) Grounded 2018 graphite on paper The drapery is so classical that they could almost be carved from stone. Classical as in archaic. But this once overlooked archaism seems to have a radical and therefore fresh quality in the eyes of the 21st century beholder. There are aspects of pictures that can evade our attention for precisely the opposite reason — not because they have to be hunted out in overlooked corners, but because they are so integral to a painting’s construction that we can simply forget to think about them. They are overlooked in plain sight. It is within this reasoning that Dino Gabito focuses on drapery. Every artist who has ever depicted human beings in action has been obliged — most of the time, at least — to clothe his figures in some form of drapery or costume. So much so that drapery itself became part of the language of painting: as much of a given, one might say, as any of the parts of speech in written language. It gives the impression that it is there simply because it has to be there, so we pay it less attention than it deserves. But because it has always been so malleable, so open to invention — so inviting of artistic invention, both in texture and form — drapery has always played a vital part in what might be called the secret history of figurative painting. Gabito makes full display of drapery sans the human figure, in all its openness to the invention of the imaginatio
Leon Gallery
Feb. 23, 2019
Dino Gabito (b.1989) Shroud # 6
Est: ₱240,000 - ₱312,000
Dino Gabito (b.1989) Shroud # 6 oil on canvas 96” x 48” (244 cm x 122 cm)
Leon Gallery
Apr. 27, 2018
Dino Gabito (b.1989)
Est: ₱35,000 - ₱45,500
Dino Gabito (b.1989) Shroud/Ides of March signed lower right pencil on paper 20” x 15” (51 cm x 38 cm)
Leon Gallery
Oct. 21, 2017
Dino Gabito (b. 1989) Drawing No. 3
Est: ₱12,000 - ₱15,600
Dino Gabito (b. 1989) Drawing No. 3 signed (lower right) Pencil on paper 20 x 15” (51 x 38 cm)
Leon Gallery
Sep. 09, 2017
Wishful
Est: ₱120,000 - ₱156,000
Dino Gabito (b.1989) Quantity: 1
Leon Gallery
Sep. 09, 2017
Untitled
Est: ₱30,000 - ₱39,000
Dino Gabito (b.1989) Quantity: 1
Leon Gallery
Feb. 18, 2017
Dino Gabito (b.1989) Whirling Dervishes
Est: ₱180,000 - ₱234,000
Dino Gabito (b.1989) Whirling Dervishes oil on canvas 48” x 36” (122 cm x 91 cm)
Leon Gallery