Billy Wilder Lighting His Cigar
Billy Wilder Lighting His Cigar
Signed Print
David Hockney
£25,000-£40,000
$50,000-$80,000 Value Indicator
$45,000-$70,000 Value Indicator
¥230,000-¥380,000 Value Indicator
€30,000-€50,000 Value Indicator
$250,000-$400,000 Value Indicator
¥5,090,000-¥8,140,000 Value Indicator
$30,000-$50,000 Value Indicator
AAGR (5 years) 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.
Medium: Photographic print
Edition size: 20
Year: 1982
Size: H 69cm x W 44cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2021 | Sotheby's New York - United States | Billy Wilder Lighting His Cigar - Signed Print | |||
| February 2012 | Phillips London - United Kingdom | Billy Wilder Lighting His Cigar - Signed Print | |||
| October 2005 | Bonhams New Bond Street - United Kingdom | Billy Wilder Lighting His Cigar - Signed Print | |||
| May 1995 | Christie's New York - United States | Billy Wilder Lighting His Cigar - Signed Print |
Meaning & Analysis
Billy Wilder Lighting His Cigar is a signed photographic print by renowned British artist, David Hockney. Created in 1982, this print was released in an edition size of 20 and falls under Hockney's Photo Collages collection. It depicts Austrian-American director and the artist's long time friend, Billy Wilder.
This photo collage consists of six separate images of Wilder pieced together against a pastel pink background. The use of the analogue film contributes to the formal beauty of the composition as it renders the scene in deep tones of red and orange. A glass of red wine and warm shades of Wilder’s surroundings match the pink background, recalling the vibrant aesthetics of Hockney’s early interior paintings. Against a natural inclination to search for the most central image, the playful composition urges the viewer to study the collage up and down. A sense of scene progression ensues from the movement of our eyes across the image. Because differences between images are subtle, scanning parts of the collage quickly seems to put the central figure and their bodily language in motion. The amalgamation of static images captures the passing of time as we seem to witness the progression of the scene from lighting a cigarette to the moment of smoking. Hockney would speak of his collages as ones, in which space is an illusion as opposed to time. According to the artist, “Time is accounted for in the number of pictures. You know it took time to take them, wait for them, put them down.”
