Peter Washing, Belgrade, September
Peter Washing, Belgrade, September
Signed Print
David Hockney
£4,850-£7,500Value
Indicator
$9,500-$14,500 Value Indicator
$8,500-$13,000 Value Indicator
¥45,000-¥70,000 Value Indicator
€5,500-€8,500 Value Indicator
$50,000-$70,000 Value Indicator
¥910,000-¥1,400,000 Value Indicator
$6,000-$9,500 Value Indicator
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.
Digital Print, 1976
Signed Print Edition of 80
H 21cm x W 27cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2018 | Millea Bros. - United States | Peter Washing, Belgrade, September - Signed Print | |||
| November 2018 | Millea Bros. - United States | Peter Washing, Belgrade, September - Signed Print | |||
| June 2018 | Phillips New York - United States | Peter Washing, Belgrade, September - Signed Print |
Meaning & Analysis
A signed photographic print by internationally famous and highly regarded British artist David Hockney, Peter Washing, Belgrade, September was issued in a limited edition of 80 in 1976. It depicts the artist’s onetime lover and painter, Peter Schlesinger.
This signed print by venerated British artist David Hockney is entitled Peter Washing, Belgrade, September. It was released in an edition of 80 in 1976. A photographic print, it captures the nude body of Hockney’s onetime lover and artist, Peter Schlesinger, a recurring subject of Hockney’s work immortalised in the world-famous painting, Portrait Of An Artist (Pool With Two Figures). Hockney’s reflection, and camera, also appear in the image; reflected back to us by way of a mirror, the piece’s disruption of any singular, unifocal ‘way of seeing’ or ‘looking’ can be seen as an extension of Hockney’s artistic philosophy. As in the much celebrated – and much imitated – Photo Collages series, in which Hockney creates composite, multi-perspectival works from a multitude of individual photographs, here Hockney circumvents the limitations of an inherently limited medium – the camera – which he often derided as ‘lazy’, being sure to include more than one perspective within an otherwise singular image. The mirror creates a rhetorically charged mise-en-abyme effect which questions the role of the artist, and the viewer, in creating any given representation of an object or person. A framing device of sorts, this piece recalls the trompe l’œil frames of A Hollywood Collection, and the theatre drop curtain in Hockney And The Stage.
