Anne And David, Central Park, N.Y. Dec
Anne And David, Central Park, N.Y. Dec
Signed Print
David Hockney
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Photographic print
Edition size: 10
Year: 1982
Size: H 133cm x W 86cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2015 | Sotheby's Online - United Kingdom | Anne And David, Central Park, N.Y. Dec - Signed Print | |||
| March 2014 | Sotheby's Online - United Kingdom | Anne And David, Central Park, N.Y. Dec - Signed Print | |||
| October 2013 | Christie's New York - United States | Anne And David, Central Park, N.Y. Dec - Signed Print |
Meaning & Analysis
This signed photographic print by British artist David Hockney was produced in 1982, and belongs to the artist’s Photo Collages collection of works. Part of a limited edition of 10, this photographic collage piece is product of Hockney’s introduction to inexpensive photographic technology upon his move to the United States in the ‘60s, and his long running interest in optics and perspective.
This signed photographic print, entitled Anne And David, Central Park, N.Y. Dec, belongs to a limited edition of 10 and is a key example of British artist David Hockney’s ‘joiner’ photo collages. The artist’s early experimentations with photography were birthed by the Polaroid camera he first discovered upon his move to the United States in 1964. Early photographic compositions involved taking a number of photographs of a given subject and arranging them in a grid-like pattern. Creating a patchwork of images, the famous white border of the Polaroid photo would disrupt the forms these photos depicted. In these later works, however, Hockney moved away from the Polaroid and towards other photographic media, such as the 110, small-format camera, overlapping the edges of his photos so as to engender fresh perspectives of his subjects. Hockney named these pieces, and the methodology they make use of, ‘joiners’. Achieving what Hockney dubbed ‘an illusion of space we have not seen before’, this photographic methodology allowed him to make portraits that were ‘more and more complex’, and which distorted our perception of the camera as a time-based format. In this photograph print, we see Hockney’s friends sitting at a bench in New York’s Central Park; the scene appears to bend ahead of us, mimicking the eye’s perspective in the process.
