£14,000-£21,000 VALUE (EST.)
$27,000-$40,000 VALUE (EST.)
$23,000-$35,000 VALUE (EST.)
¥130,000-¥190,000 VALUE (EST.)
€16,000-€24,000 VALUE (EST.)
$140,000-$200,000 VALUE (EST.)
¥2,560,000-¥3,850,000 VALUE (EST.)
$17,000-$26,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
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Signed Print Edition of 50
H 112cm x W 145cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|April 2023||Phillips New York - United States||Twelve Fifteen - Signed Print|
|March 2023||Christie's New York - United States||Twelve Fifteen - Signed Print|
|July 2020||Phillips New York - United States||Twelve Fifteen - Signed Print|
|February 2019||Christie's New York - United States||Twelve Fifteen - Signed Print|
|October 2014||Sotheby's New York - United States||Twelve Fifteen - Signed Print|
|October 2014||Christie's New York - United States||Twelve Fifteen - Signed Print|
|July 2014||Christie's New York - United States||Twelve Fifteen - Signed Print|
This signed print by British artist David Hockney forms an integral part of his artistic and philosophical engagement with abstraction. Entitled Twelve Fifteen, it is part of the Abstractions collection and was issued in an edition of 50 in 1991. This print in particular offers insight into the relationship between Hockney’s landscape, photo collage, and stage design works.
Twelve Fifteen is a signed print by internationally renowned British artist, David Hockney. Like much of Hockney’s work, it owes much to the unrelenting influence of Cubism – a Modernist artistic movement of which Pablo Picasso, one of Hockney’s art heroes, was a major proponent – upon the artist’s wider œuvre. Although it makes considered use of non-representational forms and garish, often clashing colours (as in the lower portion of the composition), Twelve Fifteen remains rooted in a unique and decidedly unorthodox depiction of reality. Testament to Hockney’s diverse ‘ways of seeing’, it gives us a sense of being constituted of various aspects of a traditional landscape work. On the one hand, the print is organic: deep emerald evokes pasture, whilst fragments of a rainbow and even a sun can be seen in the work’s upper portions. On the other, rigid, man-made forms puncture the work’s flamboyant texture, giving the illusion of the many skyscrapers of Los Angeles and California – Hockney’s home for over 30 years. Whilst portraying an indeterminate subject matter, what is sure is that much like Hockney’s Photo Collages, there is a compositeness to this work which challenges the limitations of traditional, unifocal art. Cross-hatched sections separate an unadorned white background from the vibrant, multicolour forms that make up the work, suggesting its use as a kind of façade or stage set much like those the artist went on to create for a November 1992 run of Strauss’s Die Frau Ohne Schatten at London’s Royal Opera.