Gregory And Shinro
Gregory And Shinro
Signed Print
David Hockney
£11,500-£17,000
$22,000-$35,000 Value Indicator
$20,000-$29,000 Value Indicator
¥100,000-¥150,000 Value Indicator
€13,500-€20,000 Value Indicator
$110,000-$170,000 Value Indicator
¥2,200,000-¥3,250,000 Value Indicator
$14,500-$21,000 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: 15
Year: 1983
Size: H 83cm x W 73cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2021 | Phillips New York - United States | Gregory And Shinro - Signed Print | |||
| November 2007 | Sotheby's Online - United Kingdom | Gregory And Shinro - Signed Print |
Meaning & Analysis
Gregory And Shinro is a photographic print by renowned British artist, David Hockney. Created in 1983 and released in an edition size of 15, this print forms part of the Photo Collages collection and his 1980s series referred to as ‘joiners’. This photo collage is composed from a series of overlapping images that capture the artists’ friends, Gregory and Shinro, in a casual context of conversation.
To create the collage, Hockney placed a series of overlapping images against a blue background, teasing the viewer to look in multiple directions in search for a central anchor point. Challenging our natural inclination to single out one main element of an artwork, the collage displays several sets of images featuring faces and gestures that seem to progress from one frame to another. Gregory Evans’ face appears in eight pictures placed next to one another while a sprawling composition of photographs depicting Shinro capture the dynamic changes in his pose and gestures. As a result, the series of pictures is linked to an ongoing sense of movement, challenging the conventional way of experiencing a static image. The composition is not simply a playful experiment but strives to represent what it means to look at another human being in daily interactions. Hockney commented in this context: “If you put six pictures together, you look at them six times. This is more what it’s like to look at someone.”
