Name: Anne And David, Central Park, N.Y. Dec
Brand: David Hockney
Rating: 4.9 (172 reviews)

Anne And David, Central Park, N.Y. Dec
Signed Print

David Hockney

£15,000-£20,000 VALUE (EST.)

AUD25,000-AUD35,000 VALUE (EST.)

CAD20,000-CAD30,000 VALUE (EST.)

CNY120,000-CNY150,000 VALUE (EST.)

€15,000-€20,000 VALUE (EST.)

HKD130,000-HKD170,000 VALUE (EST.)

¥2,330,000-¥3,110,000 VALUE (EST.)

$15,000-$20,000 VALUE (EST.)

This estimate blends recent public auction records with our own private sale data and network demand.

Meaning & Analysis

This signed photographic print by British artist David Hockney was produced in 1982, and belongs to the artist’s Photo Collages collection of works. Part of a limited edition of 10, this photographic collage piece is product of Hockney’s introduction to inexpensive photographic technology upon his move to the United States in the ‘60s, and his long running interest in optics and perspective.

read more about Photo Collages

This signed photographic print, entitled Anne And David, Central Park, N.Y. Dec, belongs to a limited edition of 10 and is a key example of British artist David Hockney’s ‘joiner’ photo collages. The artist’s early experimentations with photography were birthed by the Polaroid camera he first discovered upon his move to the United States in 1964. Early photographic compositions involved taking a number of photographs of a given subject and arranging them in a grid-like pattern. Creating a patchwork of images, the famous white border of the Polaroid photo would disrupt the forms these photos depicted. In these later works, however, Hockney moved away from the Polaroid and towards other photographic media, such as the 110, small-format camera, overlapping the edges of his photos so as to engender fresh perspectives of his subjects. Hockney named these pieces, and the methodology they make use of, ‘joiners’. Achieving what Hockney dubbed ‘an illusion of space we have not seen before’, this photographic methodology allowed him to make portraits that were ‘more and more complex’, and which distorted our perception of the camera as a time-based format. In this photograph print, we see Hockney’s friends sitting at a bench in New York’s Central Park; the scene appears to bend ahead of us, mimicking the eye’s perspective in the process.