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In Touch, Checking In - Signed Print by Howard Hodgkin 1991 - MyArtBroker

In Touch, Checking In
Signed Print

Howard Hodgkin

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29 x 42cm, Edition of 50, Intaglio

Medium: Intaglio

Edition size: 50

Year: 1991

Size: H 29cm x W 42cm

Signed: Yes

Format: Signed Print

Last Auction: April 2022

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
April 2022
Sworders
United Kingdom
£1,530
£1,800
£2,250
April 2019
Christie's London
United Kingdom
April 2001
Christie's London
United Kingdom
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The value of Howard Hodgkin’s In Touch, Checking In (signed) is estimated to be worth between £1,500 and £2,250. This intaglio print, created in 1991, has shown consistent value growth since its first sale in April 2001. This artwork has an auction history of three sales and demonstrates an average annual growth rate of 1%. The edition size of this work is limited to 50.

Created with Highcharts 11.4.8Apr 2001Oct 2004Apr 2008Oct 2011Apr 2015Oct 2018Apr 2022£1,200£1,400£1,600£1,800£2,000£2,200£2,400© MyArtBroker

Meaning & Analysis

In Touch, Checking In, represents the third of the paintings Hodgkin realised in 1991 to visually accompany his dear friend Susan Sontag’s 1986 book, The Way We Live Now. Whilst in the first two plates the artist focused on an abstract language of colour to convey the nostalgia and astonishment that the protagonists of Sontag’s book face throughout the narration, this print uses the depiction of an old telephone as emblematic of the sudden sense of proximity and intimacy lived by the gay community in New York throughout the AIDS pandemic.

Sontag’s book narrated the story of a man who suddenly falls ill with AIDS, and followed, through many dialogues, the lives of the anonymous man’s community of friends and ex-lovers, who, although strangers, suddenly find a common ground for group bonding in the illness that their friend is living. As such, as the narration unfolds, the book follows the formation of a group identity, based on a growing concern with the meaning of life and the fear of death.

Hodgkin’s phone, as the title suggests, visually emblematises the newly created proximity found by the friends of the ill man throughout the book. Telephones allowed contact and meaningful connections to be made between what were otherwise simple acquaintances. Hodgkin’s unusual depiction, despite its simplicity, poignantly evokes a defining moment of American gay culture and identity, one marked by loss, fear and death, but also by closeness and solidarity.