£12,500-£18,000
$24,000-$35,000 Value Indicator
$22,000-$30,000 Value Indicator
¥110,000-¥160,000 Value Indicator
€15,000-€22,000 Value Indicator
$120,000-$180,000 Value Indicator
¥2,440,000-¥3,510,000 Value Indicator
$16,000-$23,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Lithograph
Edition size: 68
Year: 1993
Size: H 48cm x W 62cm
Signed: Yes
Format: Signed Print
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Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
---|---|---|---|---|---|
September 2024 | Phillips London - United Kingdom | Gorge d'Incre - Signed Print | |||
September 2023 | Lama - United States | Gorge d'Incre - Signed Print | |||
November 2022 | Rosebery's Fine Art Auctioneers - United Kingdom | Gorge d'Incre - Signed Print | |||
October 2022 | Sotheby's New York - United States | Gorge d'Incre - Signed Print | |||
June 2018 | Phillips London - United Kingdom | Gorge d'Incre - Signed Print | |||
July 2011 | Christie's New York - United States | Gorge d'Incre - Signed Print | |||
November 2010 | Phillips New York - United States | Gorge d'Incre - Signed Print |
A great wave swells up above a series of standing stones or shadowy figures. Planes of colour converge and consume each other, their various textures and colours provoking dynamic counterpoints. Here Hockney – with the help of the famous Gemini G.E.L. workshop in LA – is pushing the medium of lithography to its limits, creating daring and bold compositions that combine a range of techniques and marks to form something entirely new. The style of Gorge Incre recalls that of the series Some New Paintings which saw Hockney achieving these effects on canvas. Here the work has been flattened and yet the dynamism is retained, thanks to the layers of depth added by the various textures. As with the series that precedes this one, Some New Prints, the works in Some More New Prints also recall the colourful compositions Hockney produced when he was commissioned to design sets for the opera Die Frau Ohne Schatten, of which he remarked, “These started simply and grew more and more complex. I soon realized that what I was doing was making internal landscapes, using different marks and textures to create space, so that the viewer wanders around.”