£12,000-£18,000 VALUE (EST.)
$23,000-$35,000 VALUE (EST.)
$20,000-$30,000 VALUE (EST.)
¥110,000-¥160,000 VALUE (EST.)
€14,000-€21,000 VALUE (EST.)
$120,000-$170,000 VALUE (EST.)
¥2,180,000-¥3,270,000 VALUE (EST.)
$14,500-$22,000 VALUE (EST.)
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.
Digital Print, 1995
Signed Print Edition of 45
H 84cm x W 106cm
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2021||Sotheby's Online - United Kingdom||The Studio, March 28th 1985 - Signed Print|
|March 2018||Christie's London - United Kingdom||The Studio, March 28th 1985 - Signed Print|
|June 2015||Phillips London - United Kingdom||The Studio, March 28th 1985 - Signed Print|
This signed photographic print by British artist David Hockney is entitled The Studio, March 28th, 1995. In 1995, created an installation entitled Snails Space With Vari-Lites (1995-1996). The large-scale piece was exhibited at Washington D.C.’s Smithsonian Museum in the same year. As in the signed print series Snails Space, this print captures a birds-eye-view view of this mixed media installation piece, a striking and remarkably unique element of Hockney’s wider œuvre that makes an extended use of abstraction. In this particular print, a smaller study positioned on an easel echoes the forms of mixed media piece, assembled on the rear wall and floor of the studio. Captured by a photograph, Hockney’s interest in this scene suggests some kind of rhetorical exercise concerning spectatorship, and the mise-en-abyme effect. The limits of the canvas are no obstruction to the willed distortion and elision of boundaries between artwork, gallery space, and photograph. Commenting on the genre-bending nature of the piece depicted in this print series, Hockney once said: ‘The original painting is on two canvases measuring 84 by 240 inches, but I decided to continue the painting on the floor immediately in front of it, so we constructed a three-dimensional extension using real cubes, cones, and cylinders’.