Annie Cabigting Paintings & Artwork for Sale | Annie Cabigting Art Value Price Guide

Dec. 02, 2023
Annie Cabigting (b. 1971) - III
Est: ₱2,000,000 - ₱2,600,000
III dated 2019 oil on canvas 20” x 24” (51 cm x 61 cm) PROVENANCE: Pintô Art Museum, Antipolo LITERATURE: Bunoan, Ringo. Annie Cabigting: Something To Do With Art. Makati: Finale Art File, 2022. Full-color illustration and painting description on page 41. WRITE UPThe original "OOF" is a striking and deceptively simple composition that embodies a complexity upon closer examination. The painting features the bold, capitalized word "OOF" set against a monochromatic background. The choice of word and its bold presentation immediately captivate the viewer's attention, prompting curiosity and contemplation. Furthermore, "OOF" can be seen as a commentary on the mass media and consumer culture prevalent during the era of its creation. The use of a word that could be associated with a sound effect from a comic book or an advertisement reflects Ruscha's engagement with popular culture and his critique of its pervasive influence on society. Ruscha's selection of the word "OOF" in the painting carries a multifaceted significance. The onomatopoeic quality of the word conjures various interpretations, evoking a sense of sudden impact or surprise, as if the viewer has been momentarily winded. Its phonetic resonance is open-ended, allowing for personal and diverse associations. Cabigting's depiction of “OOF” situates it on a white gallery wall, not unlike its real world space within the collection of MoMA. But after five decades, can we say that Ruscha's work has evolved as well? In line with Cabigting's practice, one can surmise that this is ultimately the question the piece wants to ask. One can argue that the biggest draw of Cabigting's series of paintings of other paintings is that its almost hyperrealistic treatment is furthered by our familiarity with the format on the more easily accessible medium of photography. Who hasn't seen photos of people with their back turned against the camera and gazing upon a work within the walls of a gallery or a museum. The fact that these are real or staged are beyond the scope of the images themselves. Instead, one must focus on the fact that within the context of the accessibility of a digital space like social media feeds, what we are being fed is a reality that forces us to look at art through a very specific way; one that may come off as overly serious at times. Cabigting's OOF can be read as a critique of this very tendency, with Ruscha's work acting as the perfect medium for it. Here, the originally ironic piece is viewed within a space sometimes invites an almost ideological sense of worship. Though that isn't to say that such spaces do not invite a level of critique. Instead, Cabigting hopes to explore and bring to light the way these spaces now operate under today's contemporary context. Ruscha's work, no matter his intention, no longer belongs to him. But neither does it belong to Cabigting as well. In fact, the term "oof" has garnered a considerable amount of attention ever since Ruscha's original work and Cabigting's own piece. In keeping with the original 1962 piece's intention, the term has retained its comedic effect. But no longer is it merely humorous for its guttural and almost primal onomatopoeic sound and look. Instead it become a gag or a joke itself. Its roots stretching far back into the recesses of the internet of things, bringing for a level of absurdity born out of obscurity. The term "oof" has become a meme of sort, used as a placeholder for either and empathetic or sympathetic settlement tinged with just a bit of irony and lightheartedness. From comment sections, to image macros, and even casual conversations with friends, the term has morphed into something Cabigting could have never anticipated, and Ruscha would not have even been able to comprehend. Thus we are left with a prime example of how a singular word has evolved three times. Once within the context of a world beginning to experiment, once again, with one of the oldest forms of media: paint. Another in relation to the relative ease of photography and the rise of galleries and museums as the main conduit of visual information in the digital age. Lastly, we see it change into what is arguably the zenith of an idea's life on the internet; a viral meme. It is without a doubt that the term will undoubtedly evolve with the times (or perhaps perish in obscurity) But, needless to say, what we have here is a rare and brief artifact of something that is ultimately ephemeral in nature. (Jed Daya)
Leon Gallery
Jun. 11, 2022
Annie Cabigting (b. 1971)
Est: ₱3,000,000 - ₱3,900,000
Annie Cabigting (b. 1971) Destroyed Painting (After Francis Bacon) signed and dated 2010 (verso) acrylic on canvas 59" x 51 1/2" (150 cm x 131 cm) PROVENANCE Artesan Gallery, Singapore Private Collection, Singapore Christie's, Asian Contemporary Art (Day Sale), Hong Kong, 25 May 2014 EXHIBITED Artesan Gallery, Annie Cabigting: Mutating Truths, Singapore, April 15 - 30, 2010 The renowned contemporary artist Annie Cabigting often approaches her practice by employing metacontextual references surrounding art history, aesthetics, and the art world at large. Her works seemingly transcend and go beyond the common musings of art, such as beauty, representation, and form, and focuses her attention on the complex structure that artists and the art industry exist in. Whether through photo realistic depictions of individuals viewing important and famous works of art, or her much more conceptual and rigorously experimental pieces, Cabigting makes it apparent that artworks do not exist in a vacuum, but are part of an interrelated web that ties together the various historical, social, cultural, and psychological facets that make art possible. In this 2010 acrylic on canvas work, Cabigting focuses the limelight on one of the world’s most influential artists of the 20th Century, Francis Bacon. The Irish-born British painter was largely known for his raw and sometimes unsettling figurative works that explored and unearthed the psychological and existential realities of the human condition. His subject matter is diverse, ranging from portraits of friends and acquaintances to popes, important figures, and mythological creatures. Though Bacon’s works can often come off as disconcerting, the artist’s approach was seen as liberating, especially when viewed in relation to the romantic and impressionistic styles that dominated the art world prior to Bacon’s generation. This “brutality of fact” approach to his works is also attributed to the largely personal and biographical relationship of Bacon with his works. Though one cannot reduce Bacon’s artistry to the purely psychological, some critics and scholars have attributed Bacon’s less than ideal life, which includes a history of abuse at the hands of his father, bankruptcy, petty theft, and discrimination for his sexual orientation, as a motivating force for his artistic approach. But the mental and emotional aspects of Bacon’s practice can be found beyond his actual pieces, but in the very process itself. During her own research, Cabigting discovered that Bacon had the tendency to destroy, deface, and discard his works and drafts that were not up to his standards. Though other scholars have seemingly ignored this fact, Cabigting has seemingly breathed new life into Bacon’s often forgotten pieces, effectively adding to Bacon’s already rich practice, as well as the ongoing debate on the role of an artist’s psychological, emotional, and personal dimensions in the creation of meaning. In Destroyed Painting (After Francis Bacon), Cabigting recreates a defaced painting of Bacon as a way of approaching and investigating the role of discarded vestiges of one’s practice as integral to the artistic process. The work features a seemingly unfinished portrait, wherein instead of a head and face, a rectangular shape is found at the center of the canvas. The inclusion of the geometric shape can be seen as a reference to either the works of Cabigting’s mentor Roberto Chabet, specifically his Window series, or the fact that Bacon himself held a disdain for abstract art itself, effectively adding towards the psychological and personal aspect of the piece. The art critic Rachel Campbell-Johnston noted that “[Bacon is] quite simply the most extraordinary, powerful and compelling of painters … His images short-circuit our appreciative processes. They arrive straight through the nervous system and hijack the soul.” In turn, Cabigting’s work is seemingly not only an exploration of the affecting power of Bacon’s work, but an investigation into the very soul of Bacon himself. (J.D.)
Leon Gallery
Mar. 05, 2022
Annie Cabigting (b. 1971) - Habitus and Excess 2
Est: ₱300,000 - ₱390,000
Habitus and Excess 2 dated 2016 Medium: paint and 18k gold palette knife with wood handle enclosed in an acrylic case sculpture height: 11" (28 cm) base diameter: 10" (25 cm) virina: H: 15 1/2" (39 cm) D: 9" (23 cm) Accompanied by a certificate issued by Finale Art File and signed by the artist confirming the authenticity of this lot Annie’s statement about the work - "It’s Bourdieu theory of habits that society and it’s structures affect the individual, when I made that work in 2016, it was the height of hype culture everything had to be branded and excessive beyond logic. So I made an everyday tool I use made out of gold. To highlight how ridiculously things have become". *This work will be featured in a new book to be launched by Finale Art File soon. Celebrated contemporary artist Annie Cabigting is widely known for her conceptually rigorous and groundbreaking practices and projects. Cabigting graduated with a degree in painting from the University of the Philippines – Diliman and has exhibited in various solo and group shows in the country and abroad. Her work was included in the Prague Biennale in Czechoslovakia. Cabigting was also a finalist of the 2005 Ateneo Art Awards. Though she is mostly known for paintings, specifically her works featuring individuals gazing upon great works of art, she has also delved into and experimented with other forms of art and media. This comes as no surprise given that Cabigiting’s practice emphasizes a conceptual dimension, a predisposition that can be attributed to her mentor and the Father of Philippine Conceptual Art Roberto Chabet. In Habitus and Excess 2, Cabigting takes on a much more sculptural approach to her art, but manages to relate it back to her main practice of painting. The work features a palette knife driven into a ball of excess and discarded paint. The relatively frank nature of the pieces confronts the often dramatized and idealized act of painting and creating art. The work peels back these layers and offers the viewer a glimpse of the material realities that are necessary to art itself.
Leon Gallery
Dec. 04, 2021
Annie Cabigting (b. 1971) Riders On A Beach, A Passing Grey Garden At Fundacion Bayeler
Est: ₱7,000,000 - ₱9,100,000
Annie Cabigting (b. 1971) Riders On A Beach, A Passing Grey Garden At Fundacion Bayeler dated 2017 oil on canvas 52" x 48" (132 cm x 122 cm) PROVENANCE Christie's, Asian Contemporary Art, Hong Kong, 26 November 2017, Lot 241 Revered and acclaimed for her recognizable imagery and conceptual depth, Annie Cabigting is among the best contemporary Filipino art has to offer. Her works subverts the genre of painting by displacing the focus from primarily the work itself, to the very act of viewing, as emphasized by her depictions of museum and gallery goers viewing and experiencing iconic works of art. Cabigting’s practice allows her to map and explore the connection between the viewer and the art and the eventual meaning created by the act of looking, seeing, and experiencing. Among her oeuvres, Riders On A Beach, A Passing Grey Garden At Fundacion Bayeler, is arguably one of her most intriguing works. The sizable oil on canvas piece depicts a woman viewing a painting by Paul Gauguin titled Riders on the Beach II. Gauguin is considered a pillar of Modern Art, and pioneer of the Synthetism movement. His early works featured scenes and circumstances from his homeland of France, specifically in the city of Paris and in the northwestern commune of Pont-Aven, depicted in a two-dimensional flat pattern. Though he was inspired by the works of the Impressionists, Gauguin emphasized emotion rather than observation. He advised his students: “Art is an abstraction: extract from nature while dreaming before it and concentrate more on creating than on the final result.” This philosophy did not only shape the core tenets of Synthetism, but eventually guided his later and much more iconic works which primarily focused on his time in French Polynesia. These works were often imbued with a sense of mysticism and spirituality sourced from Gauguin’s observations of the locals’ indigenous practices. Gauguin also left a decoder of sorts through texts, such as the Noa Noa and Letters to His Wife and Friends that documented both his thoughts and symbolisms surrounding his works. Yet it was Gauguin’s emphasis on emotion that eventually led artists, scholars, and critics to critique his works beyond his canvases. Despite the seemingly spiritual and frank nature of his latter works, Gauguin was anything but anthropological in his approach. The exoticism of French Polynesia that led Gauguin to the former French colony no longer existed; spoiled by influence of colonialism and missionary work.“It was the Tahiti of former times which I loved,” he wrote in the Noa Noa “That of the present filled me with horror.” In Riders on the Beach II, a work depicting a beach on the Marquesas Island, Hiva-Oa, near Tahiti, it can be assumed that much like most of his latter works, that the noble and astute indegenous Polynesian riders were nothing more than fictitious characters born out of Gauguin’s own mind. Rather than celebrating a people and a society, Gauguin constructed for himself a myth that emphasized and idealized the noble savage in a way that treats those beyond the cultural West as mere manifestations of an exotic aesthetic. But is it not the case that one can still appreciate works of art regardless of its background? Both Gauguin’s and Cabigting’s works are, on the surface, free from the inherent contexts attached to them. One can still, through the act of looking and experiencing the work, appreciate and engage with the harmonious combination of color and form in Gauguin’s work. While one can also still appreciate the level of detail found within Cabigting’s work without knowing it’s nuances. Thus Cabigting’s neutral treatment that emphasizes the act of viewing, and consequently, and consequently the act of viewing as well, is seemingly in contention with the context surrounding Gauguin’s work and practice. This juxtaposition begs the question on whether or not Cabigting’s work is a commentary on the role of art as a primarily visual and experiential medium sans its context or intention, or as a critique of Gauguin's highly individualistic philosophy often attributed to Gauguin’s works; or maybe a synthesis of both? Either way, the multitude of discourse surrounding Gauguin and A Passing Grey Garden At Fundacion Bayeler, undoubtedly solidifies this piece as one of Cabigting’s most engaging, if not intriguing, works yet.
Leon Gallery
Dec. 02, 2021
ANNIE CABIGTING (B. 1971) Destroyed Painting (After Francis Bacon) acrylic
Est: $260,000 - $360,000
ANNIE CABIGTING (B. 1971) Destroyed Painting (After Francis Bacon) acrylic on canvas 150 x 130.5 cm. (59 x 51 3/8 in.)
Christie's
Sep. 11, 2021
Annie Cabigting (b. 1971) À Paris Avec Une Amie Polonaise Et Un Italien
Est: ₱4,000,000 - ₱5,200,000
Annie Cabigting (b. 1971) À Paris Avec Une Amie Polonaise Et Un Italien dated 2011 oil on canvas 35" x 31.9" (89 cm x 81 cm) P 4,000,000 Provenance Finale Art File 33 Auction, Singapore, 2018 Celebrated contemporary artist Annie Cabigting is widely known for her conceptually rigorous and groundbreaking practices and projects. Thus, it is no surprise that her series of paintings depicting museum and gallery-goers admiring major works of art are sought after not only for Cabigting’s technical skill but for their unique take on the relationship between art and the way we encounter and experience them. This particular piece titled A Paris Avec Une Amie Polonaise Et Un Italien features a woman gazing at a work by the 20th century Italian-Jewish painter and sculptor Amedeo Modigliani titled Young Man (Student). Much like Cabigting, Modigliani was revered as a pioneer in his field. Most notably, he modernized two of the enduring themes in art; the portrait and the nude. Modigliani’s works are often characterized by their exaggerated and highly stylized proportions such as elongated necks and relatively bottle-like torsos. His pieces managed to capture both the hidden peculiarities of his chosen subjects by focusing on a specific trait; and the general allure of his uniform style. It is this synthesis of both the particular and the universal that Cabigting also shares with Modigliani. The overall mise en scène of Cabigting’s work is one that is wholeheartedly familiar to even the most casual of museum-goers. From its plain and neutral walls to the unmistakable effect of the hall’s spotlight, the atmosphere of the scene presented is one that can be found in museums, galleries, and exhibits across the globe. This sense of familiarity is also heightened by the fact that the scene itself can be found in the real world, allowing the viewer to entertain the idea that they themselves could be viewing the work in the same way as Cabigting’s figure. Yet, what makes this work particular as well as universal is its existence itself. The work is not merely a documentation or reproduction of an actual scene, but one that was executed with intent. Whether it was the visual frankness of the work, the slender of proportions of Modigliani’s style, or even just the way the work itself is position within its space, Cabigting’s conscious decision to present us with this particular work is one that intends to communicate a message and experience that can only be formulated through the language of her unique artistic practice. As we gaze at an onlooker that is themself observed by a pair of unwavering eyes, we begin to understand that the act of seeing is not merely a one-sided affair. Cabigting graduated with a degree in painting from the University of the Philippines – Diliman and has exhibited in various solo and group shows in the country and abroad. Her work was included in the Prague Biennale in Czechoslovakia. Cabigting was also a finalist of the 2005 Ateneo Art Awards.
Leon Gallery
Nov. 28, 2020
Annie Cabigting (b. 1971) - Tearing Into Pieces
Est: ₱5,000,000 - ₱6,500,000
Annie Cabigting (b. 1971) - Tearing Into Pieces 2005 mixed media, installation Accompanied by a certificate issued by Primo Marella confirming the authenticity of this lot Estimate USD : $100000-$130000 Estimate Euros : €83333.33-€108333.33
Leon Gallery
Sep. 19, 2020
Annie Cabigting (b. 1971) - Composition in Black and White (Painting 1)
Est: ₱5,000,000 - ₱6,500,000
Annie Cabigting (b. 1971) Composition in Black and White (Painting 1) 2018 oil on canvas Annie Cabigting has used the art viewer situated in museums and galleries as a main subject for a few years and ongoing, creating high art made accessible and earning wide following among art enthusiasts and collectors. Her works are immersive and meta, charming in overall composition, out of explorations on the traditions of presenting and viewing art. Viewers are depicted in detail as they look at paintings, from their poses to their clothes, set in highly relatable settings as shown in this specific piece. There is an inherent aura both in the subject, art work, and the space where a spectrum of art-related activities transpires, all depicted through Cabigting’s refined hyperrealism techniques. It serves as a more introspective look on how art is consumed and how viewers identify with it or scrutinize it. All in all, she questions what constitutes art. Cabigting is also known for her appropriations of worldrenowned masterpieces from artists such as Rothkho and Pollock, among others. She graduated with a major in painting at the University of the Philippines – Diliman and has exhibited in various solo and group shows in the country and abroad. Her work was included in the Prague Biennale in Czechoslovakia, and she was a finalist of the 2005 Ateneo Art Awards. Estimate in USD $100000-$130000
Leon Gallery
Feb. 22, 2020
Annie Cabigting, (b. 1971), Mesdames (Portrait of Lucina Brembati by Lorenzo Lotto 1480-1556), signed and dated 2012 (verso), oil on canvas
Est: ₱5,000,000 - ₱6,500,000
Annie Cabigting, (b. 1971), Mesdames (Portrait of Lucina Brembati by Lorenzo Lotto 1480-1556), signed and dated 2012 (verso), oil on canvas54” x 43” (137 cm x 109 cm), Private Collection, Asia Christies, Asian Contemporary Art, Hong Kong, 31 May 2015, Lot 216 Acquired from the above by the present owner
Leon Gallery
Nov. 24, 2019
ANNIE CABIGTING (B. 1971) Conditions of the Feminine oil on canvas 129.5 x 152 cm. (51 x 59 7/8 in.)
Est: $260,000 - $360,000
ANNIE CABIGTING (B. 1971) Conditions of the Feminine oil on canvas 129.5 x 152 cm. (51 x 59 7/8 in.) Painted in 2019
Christie's
Feb. 23, 2019
Annie Cabigting (b.1971) Kuntsmuseum
Est: ₱3,000,000 - ₱3,900,000
Annie Cabigting (b.1971) Kuntsmuseum oil on canvas 60” x 60” (152 cm x 152 cm)
Leon Gallery
Dec. 01, 2018
Annie Cabigting (b.1971) Untitled
Est: ₱1,000,000 - ₱1,300,000
Annie Cabigting (b.1971) Untitled oil on canvas 40 1/4” x 23 1/2” (103 cm x 60 cm) One of the foremost mid-career artists working today, Annie Cabigting has established her name through a body of work that depicts viewers looking at paintings. Aside from her meticulous technique, what critics underscore is the conceptual undercurrent of her works, which is expressed by her intelligent deployment of appropriation. This work hews closely to Cabigting’s conceptual bent by repeating, word for word, an already existing placard. While the painting functions as a copy, it simultaneously operates as an original work, since the artist mediated the words into the medium of painting. By erasing the person carrying this placard from the representation, the artist recontextualizes the meaning of the work as a found object.
Leon Gallery
Nov. 04, 2018
ANNIE CABIGTING | À Paris Avec Une Amie Polonaise Et Un Italien
Est: S$24,000 - S$30,000
89 x 81 cm oil on canvas, framed signed and dated 11 SG on the upperside edge of the painting
33 Auction
Sep. 08, 2018
Annie Cabigting (b.1971)
Est: ₱2,200,000 - ₱2,860,000
Annie Cabigting (b.1971) Untitled (Guilio Paolini, Senzo Titulo) The face of contemporary Filipino art has changed so much over the past decade. Artists have achieved a level of international recognition that was unimaginable in the late 1970s. but what is truly remarkable is that their new way of seeing things, as revealed in the body of work by Annie Cabigting, is consistently fresh and challenging. Annie Cabigting’s art ranges from painting to installation, and her work is known for its reflexive questioning of what constitutes art: the various aspects of producing, looking and privileging visual images throughout history. Her work is known for its reflexive questioning of what constitutes art or experiencing art: the various aspects of producing, looking and privileging visual images. In selecting subject matter, Annie Cabigting does not stray far from the controlled environments that already contain them. Cabigting brings a unique slant by treating mundane pieces as items that become part of our visual and mental landscape. She depicts the whole spectrum of activities and deconstructs the range of meanings that we attach to it. Cabigting graduated with a Bachelors degree, majoring in Fine Arts from the University of the Philippines Diliman in 1994. Her works have garnered widespread recognition within the Philippine contemporary art scene having been awarded the prestigious Ateneo Art Award in 2005. Cabigting has been a feature in major group exhibitions and fairs of Southeast Asian contemporary artists in Malaysia, Singapore, Germany and Italy. Subsequently, Cabigting’s own large-scale canvasses and installations were one of the main features in the 2009 Prague Biennale in the Czech Republic. signed and dated 2009 (lower right) acrylic on canvas 78”x 93” (198 cm x 236 cm)
Leon Gallery
Jun. 09, 2018
Untitled
Est: ₱1,800,000 - ₱2,340,000
Untitled
Leon Gallery
May. 27, 2018
ANNIE CABIGTING (PHILIPPINES, B. 1971) - Painting Photograph, Photograph Painted
Est: $500,000 - $700,000
ANNIE CABIGTING (PHILIPPINES, B. 1971) Painting Photograph, Photograph Painted oil on canvas 183 x 122 cm. (72 x 48 in.)
Christie's
Mar. 03, 2018
Annie Cabigting (b.1971) Black (After Ad Reindhardt at the Moma)
Est: ₱3,000,000 - ₱3,900,000
Annie Cabigting (b.1971) Black (After Ad Reindhardt at the Moma) 2015 oil on canvas
Leon Gallery
Sep. 23, 2017
ANNIE CABIGTING (b. 1971)
Est: ₱1,800,000 - ₱2,000,000
ANNIE CABIGTING (b. 1971) Sculpture in Storage (After Lawler) 2008 Oil on canvas 121.9 x 91.4 cm (48 x 36 in)
Salcedo Auctions
Jun. 10, 2017
a.) Untitled 1, b.) Untitled 2, c.) Untitled 3, d.) Untitled 4, e.) Untitled 5, f.) Untitled 6, g.) Untitled 7, h.) Untitled 8, i.) Untitled 9, j.) Untitled 10
Est: ₱1,000,000 - ₱1,300,000
a.) Untitled 1, b.) Untitled 2, c.) Untitled 3, d.) Untitled 4, e.) Untitled 5, f.) Untitled 6, g.) Untitled 7, h.) Untitled 8, i.) Untitled 9, j.) Untitled 10
Leon Gallery
Feb. 18, 2017
Annie Cabigting (b.1971) This Is My Painting If I Paint It. This Is Your Painting If You Paint It (After Reinhardt)
Est: ₱1,600,000 - ₱2,080,000
Annie Cabigting (b.1971) This Is My Painting If I Paint It. This Is Your Painting If You Paint It (After Reinhardt) dated 2010 oil on canvas 2010 96” x 64” (244 cm x 163 cm)
Leon Gallery
Nov. 27, 2016
ANNIE CABIGTING PHILIPPINES, B. 1971) PAINTER PAINTING, PAINTED AFTER FRANC
Est: $500,000 - $700,000
ANNIE CABIGTING PHILIPPINES, B. 1971) PAINTER PAINTING, PAINTED AFTER FRANCIS BACON) 168 x 131 cm. 66 1/8 x 51 5/8 in.)
Christie's
Feb. 20, 2016
Annie Cabigting (b.1971) Painting of a Photograph of a Photograph of a Painting
Est: ₱300,000 - ₱390,000
Annie Cabigting (b.1971) Painting of a Photograph of a Photograph of a Painting acrylic on canvas 36 x 36 (91 cm x 91 cm)
Leon Gallery
May. 31, 2015
ANNIE CABIGTING (Filipino, B. 1971) Mesdames
Est: $180,000 - $280,000
ANNIE CABIGTING (Filipino, B. 1971) Mesdames oil on canvas 137.5 x 119 cm. (54 1/8 x 46 7/8 in.)
Christie's
Mar. 15, 2015
ANNIE CABIGTING (Filipino, B. 1971)
Est: $120,000 - $180,000
ANNIE CABIGTING (Filipino, B. 1971) Five Words in White Paint (After Joseph Kosuth) signed and dated '2010' (on the reverse) oil on canvas 183 x 140 cm. (72 x 55 1/8 in.) Painted in 2010
Christie's
Mar. 22, 2014
Annie Cabigting (1971) Painting After Chabet
Est: -
Annie Cabigting (1971) Painting After Chabet oil on canvas 48" x 72" (122cm x 183cm) Finale Art File Sotheby's, Hongkong, Modern and Contemporary Southeast Asian Paintings, October 6, 2008, lot 886
Leon Gallery
Nov. 29, 2010
Annie Cabigting (The Philippines b. 1971)
Est: $60,000 - $120,000
Annie Cabigting (The Philippines b. 1971) An Afternoon with Rothko oil on canvas 81 x 54 in. (206 x 137 cm.) Painted in 2010
Christie's
Oct. 06, 2008
Annie Cabigting b. 1971 , Painting After Chabet oil on canvas
Est: $50,000 - $70,000
oil on canvas
Sotheby's
Apr. 08, 2008
Annie Cabigting b. 1971 , Painting Photograph, Photograph Painted (After Lucian Freud) oil on canvas
Est: $40,000 - $50,000
oil on canvas
Sotheby's
Nov. 25, 2007
Painter painting, Painted (after Francis Bacon)
Est: $14,000 - $24,000
ANNIE CABIGTING (b. The Philippines 1971) Painter painting, Painted (after Francis Bacon) oil on canvas 66 1/8 x 51 5/8 in. (168 x 131 cm.)
Christie's