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Gregory Watching The Snow Fall, Kyoto, Feb 21st 1983 - Signed Print by David Hockney 1983 - MyArtBroker

Gregory Watching The Snow Fall, Kyoto, Feb 21st 1983
Signed Print

David Hockney

£11,000-£17,000Value Indicator

$23,000-$35,000 Value Indicator

$20,000-$30,000 Value Indicator

¥110,000-¥170,000 Value Indicator

13,000-20,000 Value Indicator

$120,000-$180,000 Value Indicator

¥2,190,000-¥3,390,000 Value Indicator

$15,000-$23,000 Value Indicator

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108 x 115cm, Edition of 20, Photographic print

Medium: Photographic print
Edition size: 20
Year: 1983
Size: H 108cm x W 115cm
Signed: Yes
Format: Signed Print
Last Auction: March 2024
Value Trend:
-13% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
March 2024
Los Angeles Modern Auctions
United States
£8,002
£9,414
£11,767
October 2019
Christie's London
United Kingdom
September 2019
Sotheby's New York
United States
April 2014
Sotheby's New York
United States
April 2013
Christie's London
United Kingdom
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Track auction value trend

The value of David Hockney’s Gregory Watching The Snow Fall, Kyoto, Feb 21st 1983 (signed) is estimated to be worth between £11,500 and £17,000. This photograph, taken in 1983, has an auction history of five sales since its entry to the market in April 2013. In the past five years, the hammer price has ranged from £3,417 in September 2017 to £8,869 in March 2018. The average annual growth rate of this work is -13%. This work is part of a limited edition of 20.

Created with Highcharts 11.4.8Apr 2013Feb 2015Dec 2016Sep 2018Jul 2020May 2022Mar 2024£6,000£7,000£8,000£9,000£10,000£11,000£12,000£13,000© MyArtBroker

Meaning & Analysis

The creator of this print, British artist David Hockney, once remarked that ‘depiction goes on whether painting does it or not’. As such, here we see Hockney move away from painting and towards the representational potential of the camera and the photograph. Unsatisfied with the limitations of a singular image – the enforcer of a Renaissance-era perspective, where one is always what art historian Marco Livingstone dubs a ‘static’ viewer – Hockney works to incorporate multiple images into a single composition. Much like the rest of the artworks in the Photo Collages series, produced mostly at the beginning of the 1980s, this print experiments with different ways of seeing and different perspectives. Returning to the traditional Japanese ‘Minka’ home first depicted in Gregory Reading In Kyoto (1983), we watch Hockney watching Gregory, laying in bed, himself watching the snowfall outside. Allowing for a fluidity which matches that of the human eye, Hockney’s complex, baroque arrangement of these many individual photographs upend the fixed-point perspective of the observer in Western art. The ideas present in this work were committed to a public lecture at London’s Victoria & Albert Museum, entitled ‘On Photography’, perhaps in a reference to the eponymous book by American cultural theorist Susan Sontag (1977). In this lecture, Hockney advocated for a new form of image-making which would better reflect the human experience.

  • British-born artist David Hockney is a kaleidoscopic force in the art world. Born in 1937, Hockney's vibrant palette and innovative techniques have left an indelible mark on contemporary art. A pioneer of the British Pop Art movement in the 1960s, he seamlessly transitioned through various styles, from photo collages to vivid landscapes. Renowned for his exploration of light and space, Hockney's versatility extends to painting, printmaking, photography, and stage design. A captivating storyteller, his works often capture the essence of modern life with a playful yet profound touch. With a career spanning decades, Hockney remains an enduring visionary in the ever-evolving art world.

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