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Gregory Watching The Snow Fall, Kyoto, Feb 21st 1983 - Signed Print by David Hockney 1983 - MyArtBroker

Gregory Watching The Snow Fall, Kyoto, Feb 21st 1983
Signed Print

David Hockney

£35,000-£60,000Value
Indicator

$70,000-$110,000 Value Indicator

$60,000-$100,000 Value Indicator

¥320,000-¥540,000 Value Indicator

40,000-70,000 Value Indicator

$350,000-$600,000 Value Indicator

¥6,520,000-¥11,180,000 Value Indicator

$45,000-$80,000 Value Indicator

-1% AAGR (5YR)

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

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Medium: Photographic print

Format: Signed Print

Year: 1983

Size: H 108cm x W 115cm

Edition size: 20

Signed: Yes

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The value of David Hockney’s Gregory Watching The Snow Fall, Kyoto, Feb 21st 1983 is estimated to be worth between £35,000 to £50,000. This photographic print, signed by the artist himself, has only been sold 4 times at auction, with the first sale dating back to 17th April 2013. The artwork has reached hammer prices ranging from £28,198 in September 2019 to £34,722 in October 2019. Despite a slight decrease in value, with an average annual growth rate of -1%, the average return to the seller remains robust at £26,741. This artwork has been sold in the United Kingdom and the United States, proving its international appeal. The edition size of this artwork is limited to 20.

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
October 2019Christie's London - United KingdomGregory Watching The Snow Fall, Kyoto, Feb 21st 1983 - Signed Print
September 2019Sotheby's New York - United StatesGregory Watching The Snow Fall, Kyoto, Feb 21st 1983 - Signed Print
April 2014Sotheby's New York - United StatesGregory Watching The Snow Fall, Kyoto, Feb 21st 1983 - Signed Print
April 2013Christie's London - United KingdomGregory Watching The Snow Fall, Kyoto, Feb 21st 1983 - Signed Print

Meaning & Analysis

The creator of this print, British artist David Hockney, once remarked that ‘depiction goes on whether painting does it or not’. As such, here we see Hockney move away from painting and towards the representational potential of the camera and the photograph. Unsatisfied with the limitations of a singular image – the enforcer of a Renaissance-era perspective, where one is always what art historian Marco Livingstone dubs a ‘static’ viewer – Hockney works to incorporate multiple images into a single composition. Much like the rest of the artworks in the Photo Collages series, produced mostly at the beginning of the 1980s, this print experiments with different ways of seeing and different perspectives. Returning to the traditional Japanese ‘Minka’ home first depicted in Gregory Reading In Kyoto (1983), we watch Hockney watching Gregory, laying in bed, himself watching the snowfall outside. Allowing for a fluidity which matches that of the human eye, Hockney’s complex, baroque arrangement of these many individual photographs upend the fixed-point perspective of the observer in Western art. The ideas present in this work were committed to a public lecture at London’s Victoria & Albert Museum, entitled ‘On Photography’, perhaps in a reference to the eponymous book by American cultural theorist Susan Sontag (1977). In this lecture, Hockney advocated for a new form of image-making which would better reflect the human experience.

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