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Merced River, Yosemite Valley - Signed Print by David Hockney 1982 - MyArtBroker

Merced River, Yosemite Valley
Signed Print

David Hockney

£23,000-£35,000Value Indicator

$50,000-$70,000 Value Indicator

$45,000-$70,000 Value Indicator

¥230,000-¥340,000 Value Indicator

€27,000-€40,000 Value Indicator

$250,000-$370,000 Value Indicator

¥4,580,000-¥6,960,000 Value Indicator

$30,000-$50,000 Value Indicator

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131 x 153cm, Edition of 20, Photographic print

Medium: Photographic print

Edition size: 20

Year: 1982

Size: H 131cm x W 153cm

Signed: Yes

Format: Signed Print

Last Auction: November 2023

Value Trend:

-3% 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
November 2023
Uppsala Auktionskammare
Sweden
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October 2017
Sotheby's Online
United Kingdom
February 2013
Christie's London
United Kingdom
March 2012
Sotheby's New York
United States
September 2011
Christie's New York
United States
April 2011
Christie's New York
United States
April 2008
Christie's London
United Kingdom
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Track auction value trend

The value of David Hockney’s Merced River, Yosemite Valley, a signed Photographic Print from 1982, is estimated to be worth between £23,000 and £35,000. This artwork has been sold six times at auction since its initial sale on 2nd April 2008. Over the past five years, the hammer price has remained consistent, with an average annual growth rate of -3%. The edition size of this piece is limited to 20.

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Meaning & Analysis

In Merced River, Yosemite Valley (1983), a key part of British artist David Hockney’s Photo Collages collection of works, the tyranny of the camera’s monocular vision is challenged once again. Here, Hockney turns his attention to the natural world, inscribing his literal and figurative footprint into the landscape of the Yosemite Valley, California. Making sure to include boxes, now empty of the photographic film they once contained, within the overall composition of the piece – they are piled onto the ground at the bottom left of the image – Hockney makes a direct, reflexive nod to the photographic format he is both using and distorting. Portraying a key landmark in the US state of California, his home for over 30 years, Hockney commits lived experience, as opposed to static, ‘lifeless’ imagery, to the card upon which he mounts these many individual photographs. Much like his other photographic works, such as Luncheon At The British Embassy, Tokyo, February 16th 1983 (1983), or Gregory Reading In Kyoto (1983), here a multi-perspectival approach to photography triumphs over its quite literally ‘short-sighted’ counterpart. Taking many small snapshots, each conveying minute details visible only to the eye, Hockney commits the transience of human experience to a fluid and multi-valent artistic form.

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