The Steering Wheel, Oct 1982
The Steering Wheel, Oct 1982
Signed Print
David Hockney
£26,000-£40,000Value
Indicator
$50,000-$80,000 Value Indicator
$45,000-$70,000 Value Indicator
¥240,000-¥370,000 Value Indicator
€30,000-€45,000 Value Indicator
$260,000-$400,000 Value Indicator
¥4,970,000-¥7,640,000 Value Indicator
$35,000-$50,000 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: Photographic print
Edition size: 20
Year: 1982
Size: H 75cm x W 90cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2020 | Bonhams New Bond Street - United Kingdom | The Steering Wheel, Oct 1982 - Signed Print | |||
| April 2018 | Phillips New York - United States | The Steering Wheel, Oct 1982 - Signed Print | |||
| April 2001 | Christie's New York - United States | The Steering Wheel, Oct 1982 - Signed Print | |||
| October 1992 | Christie's New York - United States | The Steering Wheel, Oct 1982 - Signed Print |
Meaning & Analysis
The all-American road trip is the subject of this ‘joiner’ photo collage work by much-loved British artist, David Hockney, part of the Photo Collages collection. A limited edition of 20, Hockney channels the spirit of the American West, much in the same vein as his famous collage, The Grand Canyon South Rim With Rail (1982).
This signed print by British artist David Hockney is a stand-out example of one of the artist’s famous photo collages, known as ‘joiners’. An artistic embodiment of the artist’s nuanced and philosophical approach to photography, this print is part of an edition of 20 created in 1982, a year which saw the artist show his photographic experiments at the André Emmerich Gallery in New York and the Centre Pompidou in Paris. Committing the wide-open spaces of the American West to paper in a way which does justice to what he called their ‘spaciousness’ and ‘vast extent’, Hockney uses his refined photographic collage process to depict a scene of a road in Bryce Canyon, Utah. The mirror makes a return appearance – this time to the left of the composition, and in the form of the Mercedes’ side mirrors – and catches the movement of another car as it travels down the flat and winding desert road. Individual close-up photographs reveal the mottled structure of the leather covering the car’s steering wheel. Once again, Hockney’s feet appear at the bottom of the piece, anchoring the scene in the artist’s lived experience. A composite piece, this print reveals ‘what it’s like to live in the world’ rather than simply conveying ‘the point of view of a paralyzed Cyclops’ – a pejorative phrase Hockney once used to describe the photographic medium.