Tres (End Of Triple)
Tres (End Of Triple)
Signed Print
David Hockney
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Lithograph
Edition size: 50
Year: 1990
Size: H 123cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| January 2023 | Phillips London - United Kingdom | Tres (End Of Triple) - Signed Print | |||
| October 2019 | Van Ham Fine Art Auctions - Germany | Tres (End Of Triple) - Signed Print | |||
| January 2019 | Phillips London - United Kingdom | Tres (End Of Triple) - Signed Print | |||
| April 2018 | Cornette de Saint Cyr Paris - France | Tres (End Of Triple) - Signed Print | |||
| December 2016 | Phillips London - United Kingdom | Tres (End Of Triple) - Signed Print | |||
| April 2016 | Christie's New York - United States | Tres (End Of Triple) - Signed Print | |||
| April 2006 | Sotheby's New York - United States | Tres (End Of Triple) - Signed Print |
Meaning & Analysis
Tres (End Of Triple) is a lithograph in colours by British artist, David Hockney, and is the last in the series of three prints. Executed in 1990 and released in an edition of 35, this print presents a similar composition composed of abstract forms to the two preceding it, yet all are in varying colour combinations.
Seemingly non-representational in its degree of abstraction, the irregular shapes comprising Très (End Of Triple) do seem to be derived from recognisable sources. Yet, although appearing unrelated to the natural world, Hockney is depicting a lake and river, which snakes unnaturally about the painting. For example, in the lower third of the composition, there are sailboats sailing on a lake, with a white picket fence surrounding it. Hockney has undoubtedly been influenced by Cubism masters Pablo Picasso and Georges Braque in the creation of the Eine, Deux, Très series.
This is most clearly seen in the adoption of multiple-point perspective, enabling the viewer to feel as if they are moving around within the painting. Through utilising various intertwining and rigid planes, Hockney has created the illusion of volume and space, much like the Cubist masters skillfully did.
