Dark Mist
Dark Mist
Signed Print
David Hockney
£18,000-£26,000
$35,000-$50,000 Value Indicator
$30,000-$45,000 Value Indicator
¥160,000-¥230,000 Value Indicator
€21,000-€30,000 Value Indicator
$180,000-$260,000 Value Indicator
¥3,030,000-¥4,370,000 Value Indicator
$23,000-$35,000 Value Indicator
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: Lithograph
Edition size: 25
Year: 1973
Size: H 74cm x W 64cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online - United Kingdom | Dark Mist - Signed Print | |||
| February 2020 | Wilson55 - United Kingdom | Dark Mist - Signed Print | |||
| January 2019 | Phillips London - United Kingdom | Dark Mist - Signed Print | |||
| July 2017 | Christie's New York - United States | Dark Mist - Signed Print | |||
| September 2016 | Sotheby's Online - United Kingdom | Dark Mist - Signed Print | |||
| May 1993 | Christie's New York - United States | Dark Mist - Signed Print |
Meaning & Analysis
Similarly to Mist, another work from this 1973 portfolio by David Hockney, entitled The Weather series, Dark Mist shows an LA street suffused in a thick fog. Three palm trees loom out of the mist, their silhouettes and monochrome palette making them foreboding in the absence of sun. The building that can also be found in Mist here too becomes more threatening with the addition of bars at its window and dark crosshatching to its facade. The first palm tree is the darkest, its inky blackness providing an anchor to the composition, while the two behind it seem to fade into the distance, the last almost becoming one with the fog. As well as an atmospheric study of weather, the work can also be read as an homage to Monet who painted a view of poplar trees using a similar perspective. The work also recalls some of Hockney’s later work, when he returned to Yorkshire and painted trees in his native landscape. Perhaps most of all however, this work is a nod to the Japanese prints Hockney had become familiar with while visiting Japan just two years earlier. In the masterful depiction of mist on the lithographic stone we are reminded of the many wonders achieved with the woodblock by masters such as Hiroshige and Hokusai who are known for their delicate depictions of snow and rain.
