Picture Of Portrait In Silver Frame
Picture Of Portrait In Silver Frame
Signed Print
David Hockney
£6,500-£9,500
$13,000-$19,000 Value Indicator
$11,500-$17,000 Value Indicator
¥60,000-¥80,000 Value Indicator
€7,500-€11,500 Value Indicator
$60,000-$90,000 Value Indicator
¥1,240,000-¥1,810,000 Value Indicator
$8,000-$11,500 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: Lithograph
Edition size: 85
Year: 1965
Size: H 77cm x W 56cm
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 | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| September 2023 | Phillips London | United Kingdom | |||
| April 2023 | Sotheby's New York | United States | |||
| April 2023 | Sotheby's New York | United States | |||
| May 2019 | Bonhams Los Angeles | United States | |||
| May 2019 | Bonhams Los Angeles | United States |
Meaning & Analysis
Picture Of Portrait In Silver Frame brings together two major themes in Hockney’s oeuvre. The 1965 lithograph is part of one of the first series the artist embarked upon after moving to LA the year before. Here we see him experimenting with a new medium, which allowed him to bring in more elements of his painting than etching had previously afforded him, and to play with surface and depth to produce this trompe l’oeil technique of a fictional frame around a portrait. Embellished with scrolling woodwork and a dentil edge the frame appears to bridge the gap between image and viewer adding distance to the portrait, despite the two elements being on the same plane. The portrait itself is classic of Hockney’s early style and recalls series such as A Rake’s Progress. The sitter is shown with blotches of ink denoting the shadows of his face, and he is wearing a striped suit that takes us back to much of the work Hockney made while still in England, suggesting he made this piece before he had fully settled into his more relaxed LA style which culminated in much looser portraits of his friends and lovers.
