Modern British Prints Market Report 2023
Views Of Hotel Well III - Signed Print by David Hockney 1985 - MyArtBroker

Views Of Hotel Well III
Signed Print

David Hockney

£70,000-£110,000 VALUE (EST.)

$130,000-$210,000 VALUE (EST.)

$120,000-$180,000 VALUE (EST.)

¥620,000-¥980,000 VALUE (EST.)

80,000-130,000 VALUE (EST.)

$670,000-$1,050,000 VALUE (EST.)

¥12,720,000-¥19,990,000 VALUE (EST.)

$90,000-$130,000 VALUE (EST.)

19% AAGR (5YR)

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.

Lithograph, 1985
Signed Print Edition of 80
H 113cm x W 41cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
May 2021Sotheby's New York - United StatesViews Of Hotel Well III - Signed Print
January 2020Phillips London - United KingdomViews Of Hotel Well III - Signed Print
October 2018Christie's New York - United StatesViews Of Hotel Well III - Signed Print
April 2017Sotheby's New York - United StatesViews Of Hotel Well III - Signed Print
April 2016Phillips New York - United StatesViews Of Hotel Well III - Signed Print
April 2016Sotheby's New York - United StatesViews Of Hotel Well III - Signed Print
November 2015Sotheby's New York - United StatesViews Of Hotel Well III - Signed Print

Meaning & Analysis

Together with the works View Of Hotel Well I and View Of Hotel Well II, this signed print by British artist David Hockney portrays the central courtyard of the Hotel Acatlán in Mexico. Like these other prints, it can easily be digested as a study for the much larger diptych, Hotel Acatlan: Two Weeks Later, produced – as its title suggests – two weeks after Hockney’s visit, on two canvases with oil paints. It is also similar to the 1985 work, A Walk Around The Hotel Courtyard, Acatlan. In this particular rendering of the scene, Hockney takes an even larger, pronounced step back from his subject matter. Pushing reverse perspective to its limits, the inner courtyard appears before us in an almost triangular shape; the image’s horizon, warped far beyond the confines of any straightforward likeness, appears curved. Recalling the artist’s composite Photo Collages, there is movement to this work; combining multiple perspectives into a composite image, each aspect of the piece is a direct product of the artist having walked around the scene, subjecting it to his scrutinising eye. In 1985, Hockney had a hearing aid fitted. As this piece shows, the hard-of-hearing Hockney has evidently benefitted from a heightened spatial awareness. Commenting on the hearing aid’s benefits, Hockney once said, ‘[Over the last years to compensate for my muffled ears I developed a strong visual space sense I say this because I’m very aware I seem to see in another way that has to do with noticing movement of the eye (time) and perception of space’.

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