Sometime in the 1990s, former PLDT executive Tony Samson wrote about ways how to invest one’s money wisely. He said that, for starters, one can buy a nice painting for P50,000 and see its value appreciate over time.
In 2016, lawyer and Inquirer columnist Joel Butuyan, who dabbles in fine art, noted there has been a booming art scene in the Philippines for the past several years.
Today the vibrancy of that scene is felt in the numerous art fairs held regularly in Metro Manila and elsewhere. There are likewise year-round auctions by two prominent art houses, Salcedo and Leon, whose offerings have been fetching record-high bids.
Butuyan expounded: “The soaring prices of the works of Filipino artists are the result of the entry into the scene of art buyers with varying intentions: 1) those who can finance a hobby of competing to collect market-popular artworks; 2) those who consider artworks as investments that can be sold for higher prices in the future; 3) those who want to hang on their walls sought-after paintings as visual evidence of financial success; and 4) those who are motivated by a combination of two or more of the earlier mentioned intentions. Then there is the growing interest of foreign collectors in Philippine art.”
In any case, the demand for and interest in Philippine art indicates there’s room for more players—either as gallerists or auctioneers.
Jeffrey G. Dimalanta fits both titles. Since 2018, he has been running Gallery 928 at Shangri-La Plaza, and last June he held his first auction, “Timeless Treasures,” at Fairmont Makati.
Dimalanta—who learned the ropes from his father Sonny, who owned Artwalk Gallery in Bel-Air, Makati—sold five paintings at the auction, enough to motivate him to do more. The second auction, “Echoes of Rarity,” will be held on Sept. 28, 2 p.m. at G/F, SJW Building, Paseo de Magallanes, Osmeña Highway, Makati, with an ongoing preview till 7 pm of Sept. 27.
Cesar Legaspi’s “Igorot Dance,” oil on wood (1976)
Mauro Malang Santos’ “Vendors,” oil on canvas (2007)
Cesar Legaspi’s Igorot Dance (1976), Mauro Malang Santos’ Vendors (2007), and Vicente Manansala’s undated 74-page sketchbook portfolio, as well as select works by Federico Aguilar Alcuaz, Gus Albor, Andres Barrioquinto, Manuel Baldemor, Norma Belleza, BenCab, Michael Cacnio, Araceli Dans, Romulo Galicano, Dr. Toribio Herrera, Jose Joya, Arturo Luz, Justin Nuyda, Onib Olmedo, Ramon Orlina, Juvenal Sanso, Ronald Ventura, Olan Ventura, and Fernando Zobel are among the 70 lots on offer.
Ronald Ventura, untitled, oil on canvas (2000)
Andres Barrioquinto’s “Autumn Nocturne,” oil on canvas (2020)
Notable as well are Nasser Zulueta’s Apo Whang-Od, an acrylic portrait on PVC fiber that pays homage to the last traditional tattoo artist from the Kalinga tribe.
Zulueta, a University of the Philippines alumnus and multidisciplinary artist, is said to have crafted his piece “one square at a time, mirroring the careful method of traditional tattooing.”
Ernesto Verroya’s Red Tagging 2 (watercolor on arches paper, 2020) is an allegory on political persecution seen through the colors of hanging T-shirts. Verroya won the grand prize in the 1988 Metrobank National Art Competition.
Dimalanta says holding auctions takes a lot of preparation and needs a whole team to mount: “The experience taught me several invaluable lessons about collaboration and perseverance…The journey itself sparked a sense of creative fulfilment and connection with my team, reminding me that while achieving our goals is important, the experiences and relationships we forge along the way are what truly matter. For me, the destination is just icing on the cake, reinforcing the idea that every step taken is part of a larger, enriching tapestry that shapes our lives and careers in the art world.”
Being liquid is a necessity. He says there are times when an artist would call to sell his works because he needs the cash right away. You need to have something like P100 million ready for anything, says Dimalanta.
On the bright side, he’s glad there is now a level playing field for up-and-coming artists. He says: “The logistics of the art world often posed barriers, especially for those without strong networks or financial backing. Before the internet, artists relied heavily on galleries, exhibitions, and word-of-mouth to showcase their works, which could severely limit their reach and opportunities. However, the digital age has transformed this landscape dramatically. Nowadays, artists can easily share their creations on social media platforms, build personal websites, and connect with a global audience.”
He explains why he decided to do auctions: “It’s about time I honor my friends, collectors, and consignors alike by creating something special. My vision is to bring excitement to friends in the art community while fostering deeper connections among everyone involved. Inspired by the successful auction houses abroad and locally, I want to curate events that not only showcase remarkable artworks, but also provide a platform for interaction and celebration. These gatherings could become a focal point for artists and collectors to engage, share stories, and build lasting relationships, further enriching the tapestry of the art scene.”
