Two Peppers
Two Peppers
Signed Print
David Hockney
£4,150-£6,000
$8,000-$12,000 Value Indicator
$7,500-$10,500 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,950-€7,000 Value Indicator
$40,000-$60,000 Value Indicator
¥810,000-¥1,170,000 Value Indicator
$5,000-$7,500 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Intaglio
Edition size: 100
Year: 1973
Size: H 23cm x W 38cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2024 | Subastas Segre | Spain | |||
| November 2024 | Nosbüsch & Stucke | Germany | |||
| May 2024 | Sotheby's Online | United Kingdom | |||
| October 2023 | Christie's New York | United States | |||
| March 2022 | Bonhams Los Angeles | United States | |||
| March 2022 | Bonhams Los Angeles | United States | |||
| March 2019 | Sotheby's Online | United Kingdom |
Meaning & Analysis
While Hockney is perhaps best known for his still lifes of flowers, Two Peppers is an elegant study of vegetables, although they have been improbably placed on a sheet in empty space, rather than being shown on a cutting board or in a bowl. Here the peppers become an object lesson, allowing the artist to demonstrate the effects of light on their tough and brightly coloured skin and their slightly rippled surface. While the work is an intaglio it could almost be a drawing made with coloured pencil; the marks are delicate and the shading of the shadow filled with a lightness we don’t usually associate with printing ink. As with many of Hockney’s other prints he has used cross hatching to shade in the background, however here, with the air of careful precision that suffuses the work, the effect is that of the kind of graph paper used in technical drawing, lending the scene some structure and rigidity in its almost grid like effect. The composition is also interesting as it occupies the lower two thirds of the sheet. As is common in many of Hockney's prints, much is left bare and the white space is used to striking effect to offset the subject itself.
