An Evening At Christophers, Santa Monica
An Evening At Christophers, Santa Monica
Signed Print
David Hockney
£4,150-£6,000 Value Indicator
$8,000-$11,500 Value Indicator
$7,000-$10,000 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,800-€7,000 Value Indicator
$40,000-$60,000 Value Indicator
¥760,000-¥1,090,000 Value Indicator
$5,000-$7,500 Value Indicator
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.
Photographic print, 1982
Signed Print Edition of 15
H 130cm x W 70cm
Your collection tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
Track value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2013 | Christie's New York - United States | An Evening At Christophers, Santa Monica - Signed Print |
Meaning & Analysis
Created by David Hockney in 1982, An Evening At Christophers, Santa Monica is a signed photographic print that belongs to a series of photo collages termed by the artist as ‘joiners’. By arranging visually striking sequences of images in joiners, Hockney gives expression to his long standing curiosity about questions of perspective and space.
In this photo collage, five people are seen sitting together in a warmly lit room, engaged in a conversation. A wide, panoramic-like view of the scene invites our gaze to move back and forth, from one side of the collage to the other. As Hockney’s intention in photo collages was to move away from a single-point perspective and introduce a variety of angles and layers, the viewer’s eyes travel the full length of the composition in an attempt to embrace the experimental composition. The experience of viewing the picture is, thus, linked strongly to the dynamics of participating in a group conversation. As in the real-life context, looking at the variety of pictures that were pieced together sets the viewer’s gaze in a perpetual movement from side to side. Hockney commented in this context: “The power of these joiners is that we know they are collages. […] Cubism made possible the idea of collage, of the superimposition of one time level on another, therefore making the surface anything but flat.”
