Nicholas Wilder
Nicholas Wilder
Signed Print
David Hockney
£3,350-£5,000
$6,500-$10,000 Value Indicator
$6,000-$9,000 Value Indicator
¥30,000-¥45,000 Value Indicator
€4,000-€6,000 Value Indicator
$35,000-$50,000 Value Indicator
¥670,000-¥990,000 Value Indicator
$4,350-$6,500 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: 95
Year: 1976
Size: H 84cm x W 61cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online - United Kingdom | Nicholas Wilder - Signed Print | |||
| October 2023 | Christie's New York - United States | Nicholas Wilder - Signed Print | |||
| July 2020 | Forum Auctions London - United Kingdom | Nicholas Wilder - Signed Print | |||
| February 2012 | Christie's London - United Kingdom | Nicholas Wilder - Signed Print | |||
| July 2011 | Christie's New York - United States | Nicholas Wilder - Signed Print | |||
| April 2008 | Christie's New York - United States | Nicholas Wilder - Signed Print | |||
| February 2008 | Christie's New York - United States | Nicholas Wilder - Signed Print |
Meaning & Analysis
Printed as an edition of 95 at the famous Gemini print workshop in LA, where Hockney collaborated closely with Kenneth Tyler, this work was published in 1975 as part of the Friends portfolio of lithographs. Along with the curator Henry Geldzahler, the model Joe MacDonald and the writer Christopher Isherwood, Nicholas Wilder is a notable figure among this collection. Pictured sitting cross legged in an armchair with one arm slung across the back of it Wilder gives an immediate impression of confidence. Despite the ease of his pose his eyes are averted as if avoiding those of the viewer, or the artist. Staring off into the middle distance he appears preoccupied or distracted. Beside him is a strangely ordered arrangement of pencils on a table, an unusual prop for this series which mostly comprises vases of flowers or potted plants as counterpoints to the sitter. The props enhance the artifice of the setting which was arranged at the print studio, rather than in the sitter or artist’s home, and by turns the very nature of a portrait as a way to capture a moment of stillness from life.
