Diptychon
Diptychon
Signed Print
David Hockney
£6,500-£10,000
$13,500-$21,000 Value Indicator
$12,000-$18,000 Value Indicator
¥60,000-¥100,000 Value Indicator
€7,500-€11,500 Value Indicator
$70,000-$100,000 Value Indicator
¥1,220,000-¥1,880,000 Value Indicator
$8,500-$13,000 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: Screenprint
Edition size: 50
Year: 1989
Size: H 43cm x W 55cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2016 | Wright | United States | |||
| October 2016 | Phillips New York | United States | |||
| February 2012 | Christie's London | United Kingdom |
Meaning & Analysis
Emphasising colour and contrast, David Hockney’s screenprint Diptychon (1989) exhibits striking lines, clean forms, and vivid juxtapositions. As part of the printmaking process, the artist cut paper sheets into forms of varying shapes and sizes and arranged them into playful structures. Throughout his career, Hockney has favoured etchings over other printmaking media. Following Cleanliness Is Next To Godliness (1964), Hockney’s famous print of a naked man standing behind a shower curtain, Diptychon is a rare instance of the artist’s late foray into the screen-printing technique.
What suggests that the playful arrangement of abstract forms may represent the natural world are the blades of glass discernible in the green pattern covering the large cut-out shape placed at the very bottom of the image. The hand-cut stencils are brought together to create a lively arrangement and many of them, indeed, resemble vegetal forms. Given its decorative appeal and powerful simplicity, the work creates links with the legacy of Henri Matisse, especially such works as Icarus (1943), The Blue Nude (1952), and The Snail (1953). Like Matisse, who saw cut-outs as a powerful alternative to painting, Hockney takes recourse to the world of shapes to arrive at a new way of experiencing an image.
