Kawayan De Guia Paintings & Artwork for Sale | Kawayan De Guia Art Value Price Guide

Jun. 08, 2024
Kawayan De Guia (b. 1979) - The Crown Theater, Quiapo
Est: ₱600,000 - ₱780,000
The Crown Theater, Quiapo signed and dated 2011 (lower right) mixed media on canvas 48" x 48" (122 cm x 122 cm) PROVENANCE: The Drawing Room Kawayan de Guia is a versatile artist who explores various creative media including painting, installation, and sculpture. Within his diverse body of work, he frequently incorporates sociopolitical commentary and critiques of consumer culture. De Guia's art is characterized by his irreverent sense of humor and unique aesthetic, through which he unveils hidden layers of profundity in the mundane aspects of daily life. One of de Guia's distinctive techniques is his use of found objects, which he repurposes to create. In this particular piece, de Guia explores the cultural and collective nostalgia surrounding a once towering icon of one of Manila’s central hubs. TItled “The Crown Theatre Quiapo” de Guia presents us with a collage of motifs from and about the titular building. Crown Theatre was among the popular destinations back when Quaipo was seen as one of the centers of the movie theater and cinema industry. In the past, Quiapo was home to some of the city's most prominent movie theaters. At its peak, Quiapo boasted approximately a dozen movie theaters. Among them was Crown, which was situated along the district’s main thoroughfare, easily recognizable because of its iconic neon sign. Eventually, as the golden era of the country’s film industry became eclipsed by dwindling patrons and other factors, Quiapo’s stand-alone cinemas began to shutter their doors. Crown weathered through the worst of it during the 90s and early 2000s before it became among the last to close shop. The iconic structure was then demolished in the 2010s. De Guia’s work can be seen as an exploration not exclusively about the factual history of the building, but the memory contained within. Throughout the use of collage, Kawayan elevates the materiality of the structure into something that is multifaceted in a way that it is remembered, exalted, or even profaned. It reveals to us that something infrastructure, especially something as iconic as the Crown theater, is not merely an amalgamation of steel, concrete, and wood, but something that clings on tightly to the collective consciousness of the public whether we like it or not. (Jed Daya)
Leon Gallery
Mar. 09, 2024
Kawayan de Guia (b. 1979) - Room #5 Agnes Arellano
Est: ₱700,000 - ₱910,000
Room #5 Agnes Arellano dated 2007 mixed media on canvas 39" x 41" (99 cm x 104 cm) PROVENANCE: The Drawing Room EXHIBITED: The Drawing Room, "Incubator", 28 July - 19 August 2008. The Incubator Series would win for Kawayan de Guia the Ateneo Art Award of 2008. WRITE UP: Contemporary Filipino artist Kawayan de Guia pays tribute to a mentor and guide in the work titled Room #5 Agnes Arellano. postmodern and contemporary examinations of present-day Filipino society, as well as reflections on traditional precolonial and colonial culture. His fascination with the convergences among modern, traditional, and indigenous cultures is rooted in personal encounters, notably with family members who passionately champion the arts and culture in their hometown of Baguio. In this particular piece, de Guia utilizes the artistic practice he had developed over the years to celebrate a fellow artist that aided de Guia in his works. Filipina sculptor Agnes Arellano is recognized for her surrealist and expressionist creations primarily in plaster, bronze, and cold-cast marble. Arellano's artistic focus can be seen as an exploration of the inner worlds contained within the mind and the soul. De Guia worked with Arellano for two years after finishing high school. During the time, Arellano imparted to him both her techniques and her philosophy. De Guia stated that: “I was still young. In Japan, I stayed in a temple in Saitama. I was very much interested in Buddhism, because of the influence of Agnes. I was very angry at the world at that time. We were all punk. We were really angry because we went through such a frustrating time in school. You know it’s a sort of seeking-yourself stuff.” In the work we see figures and forms reminiscent of Arellano’s own practice residing within a room. From sculptures that feature a sort of surrealist morphology to scenes that bring about a sense of meditative reflection, de Guia’s work is both an homage to a mentor and a testament to how far he has come. (Jed Daya)
Leon Gallery
Mar. 09, 2024
Kawayan de Guia (b. 1979) - Room #4 Rene Aquitania
Est: ₱600,000 - ₱780,000
Room #4 Rene Aquitania signed and dated 2006 (lower right) mixed media on canvas 44" x 45" (112 cm x 114 cm) PROVENANCE The Drawing Room EXHIBITED The Drawing Room, "Incubator", 28 July - 19 August 2008. The Incubator Series would win for Kawayan de Guia the Ateneo Art Award of 2008. WRITE UP: Kayawan de Guia’s mixed media collages are an interesting and panoramic view of Filipino history and psyche. “The common Filipino is a maximalist, filling up every available space with forms and things,” writes Prof. Felipe M. de Leon, Jr. in “In Focus: Life as Art – The Creative, Healing Power in Philippine Culture” and viewers are sure to marvel at de Guia’s irreverent critiques that are full of cheeky imagery and loaded symbolism. The lot at hand Room #4 Rene Aquitania was created in 2006, two years prior to his conferment of the prestigious Ateneo Art Award – Fernando Zóbel Prizes for Visual Art. It is an ode to fellow Cordilleran artist Rene Aquitania whose works draw on the mundane to pose a critique on socio- political realities. Rene Aquitania was born into a Philippine art scene that had been transformed during the time when– independent artist-run spaces proliferated the scene, a precursor of the horizontal, peer-to-peer relationships to come. These spaces helped breed a drastically different artistic landscape that cultivated experimental contemporary styles. It was this bohemian atmosphere that preceded the piece. The canvas was constricted into a closed-off, almost claustrophobic room very similar to the aesthetic of liminal spaces. Though the work was done a decade before the term gained popularity, it embodied the liminality that pervades the aesthetic. The room is full of trinkets that span different periods of Philippine history – here lays a bul’ul, on another corner an analog television. Despite the full room, however, the place feels transitionary, devoid of any elements to tether the work to a distinct period. Kawayan de Guia reworks nostalgia into his pieces, creating an oeuvre that feels both dated and timeless all at once. He ditches conventional storytelling methods, using disconnected imagery that is as isolated to the other elements as it is coherent with each other. His visual vocabulary taps into the rich pool of our collective consciousness and with it, he expands the emotional depth and reach of his works. (Hannah Valiente)
Leon Gallery
Dec. 02, 2023
Kawayan de Guia (b. 1979) - Subtle Repercussions
Est: ₱700,000 - ₱910,000
Subtle Repercussions signed and dated 2008 (right) mixed media (light box) • closed: height: 60” (152 cm) width: 42” (107 cm) length: 7” (18 cm) •opened: height: 60”(152 cm) width: 84 1/2” (215 cm) length: 3 1/2” (9 cm) WRITE UP Toying with the idea of curiosity cabinets,” remarked Kawayan de Guia in an interview about this work. “And it was with this body of work that I — instead of only painting objects (which were from my grandmother’s collection) decided to integrate real objects. He added, “I adopted the idea of the Ifugao ritual box also known as a “punamhan”, which I still continue to do to this day.” The work at hand is a cabinet, in three sections, almost man-high — white-washed on the exterior with drawings of cone-headed figures, the number ’13’ and the words ‘Devine, Decline, Devide, in Kawayan’s typical shorthand of puns. Inside, it’s pure theater — both metaphsycial and actual, with bamboo poles, saint’s heads, burlap and twine, a toy donkey, cartoons and 1930s adverts for toothpaste, and plastic flowers. The central work is painted over pages from a book, maps, and engravings of medieval figures. It is framed by a roughly-hewn ‘cantonera’ that also happens to be lit on the inside, literally like a light box. Kawayan notes that it is “one of three works of its kind in subject and form.” (Lisa G. Nakpil)
Leon Gallery
Sep. 09, 2023
Kawayan de Guia (b. 1979) - House of Exhausted Lovers
Est: ₱500,000 - ₱650,000
Kawayan de Guia (b. 1979) House of Exhausted Lovers signed and dated 2018 (lower left) mixed media 45" x 57 1/2" (114 cm x 146 cm) Accompanied by a certificate issued by The Drawing Room Contemporary Art Gallery and signed by the artist confirming the authenticity of this lot At first glance, the works of Kawayan de Guia are a hodge-podge of conflicting objects and elements. But art is rarely completely understood only through a mere glance.While great art goes beyond the consumption of a message and opens up the path towards inquiry. Such is the effect of the undoubtedly maximalist works of de Guia. His collection of mixed media works seemingly reflect an aspect of reality; one that showcases its inherently convoluted and even chaotic underpinnings. More specifically his works are a reflection of the nuances of contemporary Filipino culture. As a society at the center of multiple cultures, histories and influences, a cohesive singular interpretation of Filipino culture and identity would not suffice. Even one that sees the concept as layered would be disingenuous. Instead one can see culture as a web of objects and phenomena. Here, contrasts do not clash but intersect, acting as an ecology of things that treat and even accept objects no longer just as extensions of human beings but effective entities in-themselves. One could argue that de Guia’s practice utilizes the theories of philosopher Jane Bennett. Bennett argues that non-human entities also have a sense of agency, but this agency does not arise from consciousness but from their capacity to affect and be affected by other entities. This is what she calls affective ecology," which refers to the emotional and sensory responses that emerge from our interactions with the world. For example, encountering a vibrant sunset or feeling a sense of awe in nature. These affective experiences demonstrate that our emotions are not solely products of human consciousness but also arise from our engagement with the environment.affective ecology," which refers to the emotional and sensory responses that emerge from our interactions with the world. For example, encountering a vibrant sunset or feeling a sense of awe in nature. These affective experiences demonstrate that our emotions are not solely products of human consciousness but also arise from our engagement with the environment. In the same vein, de Guia’s collage of works and undoubtedly maximalist practice showcases how meaning and interpretation does not also stem from merely human interaction, but also the interaction between the various elements within. The interplay between the objects creates context, tension, and inevitably, meaning. Here, the nuances of love, its loss, its strain, is expressed through the nuanced interconnectedness of objects. One can even argue that this effect could not have been achieved without de Guia’s mixed media and even sculptural approach. Given the fact that knowing that such objects have been taken out of their original showcases a level of agency that, although aided by human hands, continue to chart a path of their own. (Jed Daya)
Leon Gallery
Jun. 17, 2023
Kawayan de Guia (b. 1979)
Est: ₱1,200,000 - ₱1,560,000
Ligaya de Pilipinas - I scream and Cigarettes signed and dated 2014 (lower right) mixed media 60" x 96" x 24" (152 cm x 243 cm x 60 cm) EXHIBITED ARNDT Singapore, Manila: The Night is Restless, The Day is Scornful, July 12 - August 30, 2014 LITERATURE Romulo, Erwin and Oliver X.A. Rexles. Manila: The Night is Restless, The Day is Scornful (Exhibition Catalog). Singapore: ARNDT Singapore, 2014. Published following the exhibition of the same name at the ARNDT Singapore in 2014. This work at hand was exhibited at the Manila: The Night is Restless, The Day is Scornful exhibit for ARNDT Singapore. The show features a number of Filipino artists and was curated by Norman Crisologo. The exhibition notes state that “Manila is a city of extremes, and at a time that only the extreme makes an impression, it still manages to shock. To wander into its streets, to be among the crowds, to be caught in the din of history that barrages you at every corner is to participate in a drama that began centuries ago, but whose cries and whispers echo resound well into the present. The sacred and the profane, the amatory smiles and the feral gaze are all on display here, as the unforgiving sun of its days give way to the artificial neon of night.” Kawayan De Guia’s practice of mixed-media and assemblages often concerns itself with extremes as well. From indigenous artifacts to modern ephemera, and urban sprawls to naturally occuring landscapes, the artist understands that within spaces, are monuments and sites of contradiction. His own hometown of Baguio City is a prime example of this contradictory nature. Though on one hand often seen as a melting pot of different cultures within the Cordillera region, it was also once a shining beacon of the American occupation when the colonizers established the city as an escape from the summer heat. Now, its identity is as dizzying as its history. Yet amidst this cacophony is something new altogether; something greater than the sum of its parts yet beyond mere description or categorization. One can argue that such is the fate of all 21st century metropolises. On one hand, they are driven by the creeping urge for modernization, but on the other the lingering nostalgia for tradition; and at the very center, :life, human and yearning for survival and meaning. Thus, in this piece titled Ligaya de Pilipinas - Iscream and Cigarettes, de Guia attempts to reconcile the dizzying effect of urbanization in an attempt to derive meaning from chaos, and to show chaos in meaning. The work, as is emblematic of de Guia’s style, is an assemblage of not only different styles but of different materials as well. Such an approach can be seen as the artist’s way of expressing the diversity of not only sights and sounds, but also materials often attributed to a city. Modernization has paved the way for the use of all sorts of materials in city and space-making. From steel and concrete to paper and plastic, materials intersect and ignore all conventions that once kept them apart. The varying symbols and elements of the work add to the reality of the city, one in which extremes do not only intersect but, miraculously co-exist. De Guia’s city is as symbolic as it is real. Though some may critique the work as obtuse or abstract, one may argue that it was never the artist’s goal to elucidate, but to express. (J.D.)
Leon Gallery
Oct. 22, 2022
Louie Cordero (b. 1978) and Kawayan de Guia (b. 1979)
Est: ₱200,000 - ₱260,000
Louie Cordero (b. 1978) and Kawayan de Guia (b. 1979) Parallel History, Parallel Struggle, Parallel Heart (King of All Kings) signed (lower center) dated 2018 mixed media 72” x 72” (183 cm x 183 cm)
Leon Gallery
Sep. 10, 2022
Kawayan de Guia (b. 1979) - Cura
Est: ₱200,000 - ₱260,000
Kawayan de Guia (b. 1979) Cura dated 2018 mixed media (acrylic, oil, found obje cts and paper on wood) 47" x 52" (119 cm x 132 cm) Kawayan de Guia’s collage and mixed-media works are seen as reflections of the often diverse and multifaceted elements that make up Filipino culture and heritage. His interest in the intersections between modern, traditional, and indigenous cultures can be traced to his own personal experiences, particularly with his family members who are staunch advocates of the arts and culture scene in their hometown of Baguio. Kawayan has since participated in numerous arts advocacy projects such as the AX(iS) art project that promotes art and artistic practices that do not conform to the usual institutional norms. A dominant aspect in de Guia’s works is his use of juxtaposition and satire in order to posit contemporary critiques in the form of a familiar and humorous visual language. In de Guia’s Cura we see how de Guia engages with the assorted reality of national and indigenous cultures. Here, different elements, from traditional to contemporary are present. The figures are European paintings, globes, and bulols, pre-Hispanic representations of spirits or ancestors carved in the Cordillera region where de Guia himself grew up in. In a way, more than just being reflections, de Guia’s work acts as a portrait that seemingly showcases the ever-changing and complex face of Filipino culture itself. (J.D.)
Leon Gallery
Oct. 16, 2021
Kawayan de Guia (b. 1979) Untitled
Est: ₱50,000 - ₱65,000
Kawayan de Guia (b. 1979) Untitled signed and dated 2003 (lower right) mixed media 28” x 19” (71 cm x 48 cm)
Leon Gallery
Sep. 11, 2021
Kawayan de Guia (b. 1979) The Official Steal of America
Est: ₱300,000 - ₱390,000
Kawayan de Guia (b. 1979) The Official Steal of America signed and dated 2012 (lower right) mixed media 44 1/4" x 51 1/4" (112 cm x 130 cm) P 300,000 Irreverent yet undoubtedly substantial, acclaimed contemporary artist Kawayan de Guia is not afraid to tackle a number of socio-political and taboos in his complex and critical artistic practice. In this piece titled The Official Steal of America de Guia sets his sights on unarguably the world’s most influential superpower, the United States of America. Done in a tongue-and-cheek and almost kitsch fashion, de Guia’s parody of the US’ coat of arms can be seen as a critique of the superpower’s unfettered reach on almost all aspects of contemporary life. Aside from the official seal, the work also features a number of iconic American brands and products rendered in such a way that reveals their propaganda-like qualities. De Guia’s subversion of a powerful and symbolic piece of contemporary culture effectively peels back its ideological layers in order to reveal its often overlooked essence. De Guia studied at the Philippine High School for the Arts and then pursued a Bachelor’s Degree in Fine Arts at the University of the Philippines’ College of Fine Arts. He received the Ateneo Art Award in 2008 and 2011, and the Thirteen Artists Award from the Cultural Center of the Philippines in 2009. Recent exhibitions he has participated in include Soil and Stones, Souls and Songs, Para Site, Hong Kong (2017), Behind Foreign Lands: Southeast Asian Contemporary Art, Soka Art Center, Beijing (2016), and Wasak! Filipino Art Today, Arndt, Singapore (2016). He was one of the curators of the Singapore Biennale in 2013.
Leon Gallery
Feb. 27, 2021
Kawayan de Guia (b. 1979) - Ethics of Mysticism 4/4 : Absence
Est: ₱700,000 - ₱910,000
Kawayan de Guia (b. 1979) Ethics of Mysticism 4/4 : Absence inscribed Baguio, signed and dated 2019 (lower right) mixed media 80” x 67” x 4” (203 cm x 170 cm x 10 cm) Provenance: Pinto Art Museum, Antipolo City WRITE UP: The artistic practice of visual artist Kawayan de Guia is heavily informed by postmodern and contemporary analyses of current Filipino society and traditional precolonial and colonial culture. His interest in the intersections between modern, traditional, and indigenous cultures can be traced to his own personal experiences, particularly with his family members who are staunch advocates of the arts and culture scene in their hometown of Baguio. Kawayan has since participated in numerous arts advocacy projects such as the AX(iS) art project that promotes art and artistic practices that do not conform to the usual institutional norms. A dominant aspect in de Guia’s works is his use of juxtaposition and satire in order to posit contemporary critiques in the form of a familiar and humorous visual language. He does this by synthesizing both traditional and modern visual devices within his works. This particular work is the concluding piece to de Guia’s Ethics of Mysticism series. Ethics of Mysticism 4/4: Absence features a series of subjects and images seemingly arranged in an institutional setting. The images are diverse, ranging from an expressive rendering of the famous Aphrodite of Knidos sculpture, a familiar painting of a local rural scene, a set of bululs, a poignant rendition of an indigenous woman from the Cordillera region, and other items and subjects. The piece purportedly asks a multitude of questions, such as what beauty and what art’s role is in a globalized and westernized society. De Guia’s tableaux-like work is both humorous and serious as it attempts to contribute to a variety of essential questions that have probed the very core of human expression since the beginning.
Leon Gallery
Feb. 27, 2021
Kawayan de Guia (b. 1979) - Viva La Suerte
Est: ₱500,000 - ₱650,000
Kawayan de Guia (b. 1979) Viva La Suerte signed and inscribed Baguio, 2019 (lower right) mixed media 60” x 48” (152 cm x 122 cm) WRITE UP: Kawayan de Guia works across multiple creative media such as painting, installation, and sculpture. His works often feature sociopolitical and consumerist critiques hidden away in his irreverent sense of humor and aesthetics. By doing so, de Guia taps into the hidden profoundness of everyday life by utilizing found objects to create compelling and thought-provoking pieces. In this particular piece entitled Viva La Suerte, de Guia utilizes his usual eccentric sentimentalities in order to examine contemporary life. His canvas is filled with a slurry of objects and images akin to museological experience that attempts to convey a certain message or theme. But the result is a visual experience that emphasizes the distraught yet intertwined condition of our current reality. Hence, de Guia’s work is not only a general critique of our modern culture, but a much more refined examination of alienation at play. The flat and neutral treatment of his images denotes a sense of unease as though any connection between them should not have happened in the first place. Yet, de Guia plays on this feeling, presenting to us the truth about our current condition in a uniquely original and subversive manner.
Leon Gallery
Jan. 23, 2021
Kawayan de Guia (b. 1979) Mantra
Est: ₱100,000 - ₱130,000
Kawayan de Guia (b. 1979) Mantra signed and dated 2003 (lower right) 29” x 19” (74 cm x 48 cm)
Leon Gallery
Jun. 20, 2020
Kawayan de Guia (b. 1979) - Colonial Coils
Est: ₱240,000 - ₱312,000
Kawayan de Guia (b. 1979) Colonial Coils signed and dated 2019 (lower right) mixed media 67” x 55” x 3” (170 cm x 140 cm x 8 cm) Estimate USD $4800-$6240 Estimate Euros €4000-€5200
Leon Gallery
Jun. 22, 2019
Kawayan De Guia, (b.1979), Baguios Kultur Repprochment 1
Est: ₱120,000 - ₱156,000
Kawayan De Guia, (b.1979), Baguios Kultur Repprochment 1, signed and dated 2010, mixed media, 47” x 39” (119 cm x 99 cm),
Leon Gallery
Sep. 08, 2018
Kawayan De Guia (b.1979)
Est: ₱400,000 - ₱520,000
Kawayan De Guia (b.1979) Fallout in Paradise Biography: Kawayan De Guia (b. 1979, Baguio, Philippines) is an artist whose installations, sculptures and paintings offer ironic and comedic perceptions of sociopolitical issues in the Philippine society and the colonial past and often reference his hometown. De Guia started AX(iS) Art Project (2011), a bi-annual arts festival posited outside institutional norms, guided by the idea of art’s inclusivity. He was also one of the curators for the Singapore Biennale 2013. His solo exhibitions include: Kawayan de Guia – Buwaya (2012), Ateneo Art Gallery, Quezon City; Halsema AX(i)S Art Project (2012), Mo Space, Taguig City; A Lot Of Sound And Fury Signifying Nothing (2011), The Drawing Room, Makati City; Bored on the Fourth of July (2010), Ateneo Art Gallery, Quezon City; Bomba (2010), Jorge B. Vargas Museum, Quezon City; and Ice Cold Happiness (2009), Soka Art Center - Beijing, Beijing. De Guia also held shows in Australia, Japan, Germany and London, some of which are group exhibitions. He received his first Ateneo Art Award in 2008 for Incubator then for Bomba (2011) with the La Trobe University Visual Arts Center Residency Grant and was shortlisted for his work, A Lot of Sound and Fury Signifying Nothing (2012). He also had a JCCB4 Residency in FSRD-ITB, Bandung in 2016. References: ARNDT. (n.d.). KAWAYAN DE GUIA. Retrieved from: http://www.arndtfineart.com/website/artist_37311?idx=g 2018 mixed media 42” x 32” (111 cm x 80 cm)
Leon Gallery
Jun. 09, 2018
Gas Sta. 1
Est: ₱120,000 - ₱156,000
Gas Sta. 1
Leon Gallery
May. 27, 2018
KAWAYAN DE GUIA (PHILIPPINES, B. 1979) - Banal Kahoy
Est: $40,000 - $60,000
KAWAYAN DE GUIA (PHILIPPINES, B. 1979) Banal Kahoy mixed media on canvas 122 x 180 cm. (48 x 70 7/8 in.)
Christie's
Mar. 03, 2018
Kawayan de Guia (b.1979) a.) Untitled 1 b.) Untitled 2
Est: ₱340,000 - ₱442,000
Kawayan de Guia (b.1979) a.) Untitled 1 b.) Untitled 2 a.) mixed media b.) sculpture, mixed media
Leon Gallery
Dec. 02, 2017
Kawayan De Guia (b.1979) Untitled
Est: ₱60,000 - ₱78,000
Kawayan De Guia (b.1979) Untitled Wood ,Glass,Meter Stick H:31 1/2” x L:60 1/2” x W:36 1/2" (80 cm x 154 cm x 93 cm)
Leon Gallery
Jul. 29, 2017
KAWAYAN DE GUIA (b. 1979) Untitled
Est: ₱15,000 - ₱19,500
KAWAYAN DE GUIA (b. 1979) Untitled signed and dated 2003 (lower right) Mixed media 2003
Leon Gallery
Feb. 18, 2017
Kawayan De Guia (b.1979) The Semantics Of Lola's Antiques 2
Est: ₱300,000 - ₱390,000
Kawayan De Guia (b.1979) The Semantics Of Lola's Antiques 2 signed and dated 2008 (lower right) mixed media 2008 67 1/2” x 63” (171 cm x 160 cm)
Leon Gallery
Feb. 20, 2016
Kawayan De Guia (b.1979) Atomic Flightman
Est: ₱80,000 - ₱104,000
Kawayan De Guia (b.1979) Atomic Flightman dated 2016 mixed media 46 x 36 (116 cm x 91 cm)
Leon Gallery
Feb. 07, 2015
Kawayan De Guia (1979) Another Kind of Violence
Est: ₱50,000 - ₱65,000
Kawayan De Guia (1979) Another Kind of Violence signed and dated 2014 (lower right)
Leon Gallery
May. 26, 2013
Kawayan de Guia (b. 1979)
Est: -
Kawayan de Guia (b. 1979) Our Father in Heaven (Ama Namin Sumasalangit Ka) signed and dated 'KAWAYAN 08' (lower left) mixed media on canvas mounted on board 169 x 169 cm. (66 1/2 x 66 1/2 in.) Executed in 2008
Christie's
Nov. 25, 2012
KAWAYAN DE GUIA (Filipino, B. 1979)
Est: $50,000 - $70,000
KAWAYAN DE GUIA (Filipino, B. 1979) Weapons of Mass Distraction signed and dated 'Kawayan 07' (lower right) mixed media, acrylic, pencil, collage, wood on canvas 115 x 119 cm. (45 1/4 x 46 7/8 in.) Executed in 2007
Christie's
Apr. 04, 2011
KAWAYAN DE GUIA
Est: $50,000 - $70,000
KAWAYAN DE GUIA B. 1979 UNTITLED SIGNED AND DATED 05 LOWER RIGHT OF THE MIDDLE PANEL MIXED MEDIA closed: 122.5 by 76.5 by 14 cm.; 48 1/4 by 30 by 5 1/2 in. opened: 122.5 by 154 by 11 cm.; 48 1/4 by 60 1/2 by 4 1/4 in.
Sotheby's
Nov. 29, 2010
Kawayan de Guia (The Philippines b. 1979)
Est: $45,000 - $65,000
Kawayan de Guia (The Philippines b. 1979) Decomposing ancient sadnesssz signed and dated 'Kawayan 08; Baguio City' (center panel, lower right) mixed media 60 x 48 x 2¾ in. (152.5 x 122 x 7 cm.) (open) 60 x 36¼ x 5½ in. (152.5 x 92 x 14 cm.) (closed) Executed in 2008
Christie's
Oct. 04, 2010
KAWAYAN DE GUIA
Est: $60,000 - $90,000
KAWAYAN DE GUIA B. 1979 THE SEMANTICS OF LOLA'S ANTIQUES 2 SIGNED AND DATED '08 LOWER RIGHT MIXED MEDIA 171 by 160 cm.; 67 1/4 by 63 in.
Sotheby's
Oct. 06, 2008
Kawayan De Guia b. 1979 , Interior Complex mixed media
Est: $40,000 - $60,000
signed and dated Baguio City '08 lower left (middle panel) mixed media
Sotheby's
May. 26, 2008
Untitled
Est: $40,000 - $50,000
KAWAYAN DE GUIA (b. The Philippines 1979) Untitled signed and dated 'KAWAYAN 08' (lower left) mixed media on canvas 66 1/2 x 66 1/2 in. (169 x 169 cm.)
Christie's