Caribbean Tea Time
Caribbean Tea Time
Signed Print
David Hockney
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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: 36
Year: 1987
Size: H 215cm x W 343cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2023 | Christie's New York - United States | Caribbean Tea Time - Signed Print | |||
| May 2021 | Sotheby's New York - United States | Caribbean Tea Time - Signed Print | |||
| November 2017 | Phillips Hong Kong - Hong Kong | Caribbean Tea Time - Signed Print | |||
| February 2012 | Christie's London - United Kingdom | Caribbean Tea Time - Signed Print | |||
| November 2010 | Christie's New York - United States | Caribbean Tea Time - Signed Print | |||
| November 2007 | Sotheby's New York - United States | Caribbean Tea Time - Signed Print |
Meaning & Analysis
This signed print by much-loved British artist David Hockney is part of the artist’s Interiors And Exteriors collection of works. Issued in an edition of 36 in 1987, the colourful print is constitutive of a Cubist depiction of a Caribbean scene. Rendered in mixed media, it is assembled on a folding screen.
This signed print by venerated British artist, David Hockney, was issued in an edition of 36 in 1987. It constitutes what appears to be a depiction of a courtyard space, at the threshold between the exterior world – represented by organic forms and the flow Comprising silkscreen and lithograph screen printing techniques, this original piece of work makes use of mixed media, including cut and pasted printed paper, acrylic paint, and polystyrene, all of which is assembled onto a traditional paravent – or room-dividing screen. When looking at Caribbean Tea Time Paravent, 1987 we achieve a sense of the enduring influence that the work of Spanish artist and key proponent of the Cubist movement, Pablo Picasso, has had upon Hockney’s œuvre. As in the case of Hockney’s 1973 etching The Student, in which the artist depicts himself standing next to a bust of Picasso, placing the Spanish artist quite literally on a pedestal, this print is sure to credit its Cubist roots. Breaking down traditional linear perspective, this print also echoes Hockney’s Photo Collages – a series which saw Hockney make extended use of the camera as a means to depict a variety of different views of a given subject and a sense of the time it took to make the image.
