Freda Bringing Ann & Me A Cup Of Tea
Freda Bringing Ann & Me A Cup Of Tea
Signed Print
David Hockney
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Medium: Photographic print
Edition size: 10
Year: 1983
Size: H 149cm x W 172cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2011 | Sotheby's New York - United States | Freda Bringing Ann & Me A Cup Of Tea - Signed Print | |||
| February 2011 | Sotheby's Online - United Kingdom | Freda Bringing Ann & Me A Cup Of Tea - Signed Print | |||
| November 1995 | Christie's London - United Kingdom | Freda Bringing Ann & Me A Cup Of Tea - Signed Print | |||
| June 1992 | Christie's London - United Kingdom | Freda Bringing Ann & Me A Cup Of Tea - Signed Print |
Meaning & Analysis
This signed photographic print from 1983 by British artist David Hockney is a particularly striking example of one of his ‘joiner’ photomontage pieces, part of the Photo Collages collection of works. Part of a very limited edition of 10, Freda Bringing Ann & Me A Cup Of Tea is a perspective-bending piece depicting the artist in the company of two friends, drinking tea.
A composite image, this signed photographic print by world-famous British artist David Hockney is an example of the artist’s ‘joiner’ artworks, or Photo Collages collection of works. Using photography in a unique and inventive way, Hockney overlays numerous images in order to stretch the artistic potential of the medium, with which by the early ‘80s he had become bored. Venting his frustration at an otherwise ‘lifeless’ photography by bringing together a multitude of different moments in one piece, Hockney remarked that he did not care whether this new compositional process was ‘art, or not’. Rather, Hockney argued that it taught him valuable lessons about art, particularly the importance of diverse ways of seeing. Expressing a multitude of movement, colour, shape, perspective, and light, this image is testament to these important lessons, containing significantly greater depth than the photographs which Hockney often used as an aid for his paintings. At the bottom of the piece, Hockney’s brown trousers anchor our view into his own. Unlike that afforded by the singular photograph, this perspective is dynamic: it morphs as we cast our eye across the page, unravelling the time-based constraints which irritated Hockney so much. Capturing a friend’s movement as she brings cups of tea down a small flight of stairs, Hockney uses his eye to liberate her from the singularity of the photograph. At the top right of the composition, Hockney includes a hand-written note from the film developers, apologising for over-exposing some of the photographs during their chemical processing.
