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Interior With Figure - Signed Print by Howard Hodgkin 1966 - MyArtBroker

Interior With Figure
Signed Print

Howard Hodgkin

£1,200-£1,750Value Indicator

$2,500-$3,650 Value Indicator

$2,200-$3,200 Value Indicator

¥11,500-¥17,000 Value Indicator

€1,400-€2,050 Value Indicator

$12,500-$18,000 Value Indicator

¥230,000-¥340,000 Value Indicator

$1,600-$2,300 Value Indicator

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50 x 65cm, Edition of 75, Lithograph

Medium: Lithograph

Edition size: 75

Year: 1966

Size: H 50cm x W 65cm

Signed: Yes

Format: Signed Print

Last Auction: December 2024

Value Trend:

-5% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
December 2024
Bonhams Knowle
United Kingdom
N/A
N/A
N/A
June 2023
Bonhams Knightsbridge
United Kingdom
December 2022
Bonhams Knightsbridge
United Kingdom
March 2018
Forum Auctions London
United Kingdom
September 2016
Sotheby's Online
United Kingdom
May 2016
Swann Galleries
United States
November 2012
Bonhams New Bond Street
United Kingdom
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Howard Hodgkin's Interior With Figure, a signed lithograph from 1966, is estimated to be worth between £1,200 and £1,750. This artwork has shown consistent value growth, with an average annual growth rate of 4%. This is a rare artwork with an auction history of seven total sales since its entry to the market in January 2008. In the last 12 months, the average selling price was £1,000, across a total of 1 sale. The edition size of this piece is limited to 75.

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Meaning & Analysis

Interior With Figure is one of the few prints in which Hodgkin, who is known for his abstracted views of outside landscapes, depicted an interior space – a choice that situates the print within a long art historical tradition of capturing domestic interiors. Unlike the other prints in the portfolio, however, here Hodgkin does not explain who the subject portrayed is, leaving it up to the viewer to wonder, and identify, with the representation. Even more so than Girl On A Sofa and Girl At Night, in this work, Hodgkin makes use of an abstract language of geometrical shapes and colour – here still in its early developments.

With its morphing and fluid shapes interacting with one another on paper, the work is closer to the vocabulary of early exponents of abstract art – such as Wassily Kandinsky – than to the explosive and synergetic palette of colours that will become characteristic of Hodgkin’s personal style.