George, Blanche, Celia, Albert And Percy, London, January
George, Blanche, Celia, Albert And Percy, London, January
Signed Print
David Hockney
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Medium: Photographic print
Edition size: 20
Year: 1983
Size: H 112cm x W 119cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2017 | Christie's London | United Kingdom | |||
| May 2015 | Phillips London | United Kingdom | |||
| February 2015 | Sotheby's Online | United Kingdom | |||
| September 2013 | Christie's London | United Kingdom | |||
| June 2012 | Phillips London | United Kingdom | |||
| November 2005 | Christie's London | United Kingdom |
Meaning & Analysis
This signed photographic print by British artist David Hockney is from 1983. Produced in a year which saw Hockney deliver a lecture on photography at London’s Victoria & Albert Museum, this piece is part of the much celebrated Photo Collages collection of works and a limited edition of 10.
This signed photographic print is part of the much celebrated – and much imitated – Photo Collages collection of works by British artist David Hockney. Characteristic of Hockney’s lengthy engagement with photomontage in this period, this piece makes use of a methodology he initially named ‘drawing with a camera’ but which were later dubbed ‘joining’. Marking an extended visit to London from his home in California, here Hockney depicts a domestic scene featuring one of his most famous muses, British textile and fashion designer, Celia Birtwell. Accompanied by her children and their pet cat, Percy – immortalised alongside Celia and her then husband Ossie Clark in the internationally famous double portrait, Mr. And Mrs. Clark and Percy (1971) – this print is a standout example of Hockney’s nuanced, multi-perspectival approach to photography. Informing a public lecture delivered at London’s Victoria & Albert Museum in the same year, Hockney’s sustained interest in the photograph plays into this print’s sense of self-awareness. Camera in hand, Hockney is to be found at the rear of the composition, reflected in a mirror, its frame a self-referential nod to a long-term questioning of representation and perspective figured by several recurring motifs, including the trompe l’œil frame in the A Hollywood Collection series, and theatre drop curtain in Hockney And The Stage
