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Anne And David, Central Park, N.Y. Dec - Signed Print by David Hockney 1982 - MyArtBroker

Anne And David, Central Park, N.Y. Dec
Signed Print

David Hockney

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133 x 86cm, Edition of 10, Photographic print

Medium: Photographic print

Edition size: 10

Year: 1982

Size: H 133cm x W 86cm

Signed: Yes

Format: Signed Print

Last Auction: March 2015

TradingFloor

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
March 2015
Sotheby's Online
United Kingdom
$5,500
$6,500
$8,500
October 2013
Christie's New York
United States
MyPortfolio
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The value of David Hockney's Anne And David, Central Park, N.Y. Dec, a signed photographic print from 1982, is estimated to be worth between £17,000 and £26,000. This is a rare artwork, with an auction history of two sales on 3rd October 2013 and 6th March 2018. There is currently no data on the hammer price ranges or the average annual growth rate. This artwork is part of a limited edition of 10.

Created with Highcharts 11.4.8Oct 2013Jan 2014Apr 2014Jun 2014Sep 2014Dec 2014Mar 2015$4,500$5,000$5,500$6,000$6,500$7,000$7,500$8,000$8,500$9,000© MyArtBroker

Meaning & Analysis

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.

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