The Brooklyn Bridge
The Brooklyn Bridge
Signed Print
David Hockney
£35,000-£50,000
$70,000-$100,000 Value Indicator
$60,000-$90,000 Value Indicator
¥330,000-¥470,000 Value Indicator
€40,000-€60,000 Value Indicator
$350,000-$500,000 Value Indicator
¥7,120,000-¥10,170,000 Value Indicator
$45,000-$60,000 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 277cm x W 147cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2019 | Sotheby's Online - United Kingdom | The Brooklyn Bridge - Signed Print | |||
| March 2018 | Bonhams New Bond Street - United Kingdom | The Brooklyn Bridge - Signed Print | |||
| May 2015 | Sotheby's New York - United States | The Brooklyn Bridge - Signed Print | |||
| February 2010 | Christie's London - United Kingdom | The Brooklyn Bridge - Signed Print |
Meaning & Analysis
This 1982 signed print by British artist David Hockney depicts the iconic Brooklyn Bridge in New York City, United States. A limited edition of 20 and part of the Photo Collages collection, this print is a prime example of one of the artist’s ‘joiner’ images. Comprising multiple photographs taken over an extended period, here we see this world-famous landmark in greater detail than ever before.
An iconic part of the Photo Collages collection, this 1982 signed print by British artist David Hockney was produced in an edition of 20. Like several other of the images in this series, such as Graffiti Palace, New York (1982) and Sunday Morning Nov 28th 1982 Mayflower Hotel N.Y. (1982), it was initially composed during a trip to New York that Hockney made in November of 1982. An American city with which Hockney had considerable involvement during the 1980s – he acted as a stage and costume designer for numerous performances at the Metropolitan Opera early in the decade – New York, and another of its key landmarks, is here the subject of the artist’s disruptive, multifocal gaze. A wonderful example of one of the artist’s many ‘joiner’ images, The Brooklyn Bridge is symptomatic of Hockney’s unique approach to likeness and photography – a medium he described as ‘small’ and ‘lifeless’. Remarking that photography is ‘easy, really. All you need an eye’, Hockney asserted that its main shortcoming was to do with vision: ‘You never see things like that. It’s just not true’. In The Brooklyn Bridge, therefore, we are given a multitude of different perspectives which show us everything from Hockney’s brogues to the bridge cables high above his head. An artistic trailblazer, this print acts as a precursor to a similar work by one of Hockney’s contemporaries, Andy Warhol, who would go on to depict the bridge in the piece Brooklyn Bridge (F. & S. II.290) 1983, its centennial year.
