Picture Of Melrose Avenue In An Ornate Gold Frame
Picture Of Melrose Avenue In An Ornate Gold Frame
Signed Print
David Hockney
£9,500-£14,500
$19,000-$29,000 Value Indicator
$17,000-$26,000 Value Indicator
¥90,000-¥130,000 Value Indicator
€11,500-€18,000 Value Indicator
$90,000-$140,000 Value Indicator
¥1,850,000-¥2,820,000 Value Indicator
$12,000-$19,000 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: Lithograph
Edition size: 85
Year: 1965
Size: H 76cm x W 55cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online | United Kingdom | |||
| June 2023 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
| September 2019 | Christie's London | United Kingdom | |||
| November 2018 | Wright | United States | |||
| September 2014 | Christie's London | United Kingdom | |||
| April 2011 | Sotheby's New York | United States | |||
| October 2007 | Ketterer Kunst Hamburg | Germany |
Meaning & Analysis
In Picture Of Melrose Avenue In An Ornate Gold Frame we see Hockney playing with the trompe l’oeil technique that characterises this series. By including ornate frames or the impression of glass, he succeeds in creating the effect of looking at an artificial collection, as with many works from the history of art, and also recalling his previous paintings such as Play Within a Play where the line between artifice and reality is deliberately troubled. Here we also see signs of his ongoing fascination with the architecture of LA, and its road signs. A head creeps out from the bottom of the frame and a prototype of his now iconic palm trees reaches up into a blue sky from behind the building. All these separate elements, from the wash of sky to the flat black of the frame showcase Hockney’s mastery of print and his keen eye for manipulating his chosen medium to play with surface and depth within the work. The result is a fictitious collection, supposedly belonging to a Hollywood movie star; Hockney is said to have been inspired by a display of frames at a shop near the Gemini print studio, as well as the ‘artificial beauty’ inherent to the LA cityscape.
