Man Reading Stendahl
Man Reading Stendahl
Signed Print
David Hockney
£8,000-£12,500Value
Indicator
$15,000-$24,000 Value Indicator
$14,000-$22,000 Value Indicator
¥70,000-¥110,000 Value Indicator
€9,500-€14,500 Value Indicator
$80,000-$130,000 Value Indicator
¥1,510,000-¥2,360,000 Value Indicator
$10,000-$16,000 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: Digital Print
Edition size: 60
Year: 1986
Size: H 36cm x W 22cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online - United Kingdom | Man Reading Stendahl - Signed Print | |||
| September 2022 | Phillips London - United Kingdom | Man Reading Stendahl - Signed Print | |||
| February 2021 | Rago Arts and Auction Center - United States | Man Reading Stendahl - Signed Print | |||
| September 2019 | Phillips London - United Kingdom | Man Reading Stendahl - Signed Print | |||
| July 2018 | Christie's New York - United States | Man Reading Stendahl - Signed Print |
Meaning & Analysis
Reduced to a handful of lines and fragmented, the figure in Hockney’s Man Reading Stendhal recalls Picasso's Cubist portraits. His eyes lowered to read an unmarked book, he sits in an armchair on a fuzzy blue rug. Behind him, as if plastered to the wall, are pages of text. His face is mottled, as are other coloured parts of the work, recalling the texture of old fashioned composition notebooks. One of the more playful works in the Home Made Prints series, Man Reading Stendahl is a joyful experiment with style and technique that marks a significant departure from the etchings and lithographs of his earlier work. With the purchase of an office photocopier in 1986 Hockney was able to find a new freedom in printmaking; where before he was reliant on assistants and workshops, with the machine he could add layers, play with texture and scale, and produce digital print editions all by himself. Speaking of his newfound technique the artist said, “I can work with great speed and responsiveness. In fact this is the closest I’ve ever come in printing to what it’s like to paint: I can put something down, evaluate it, alter it, revise it, reexamine it, all in a matter of seconds”.
