Painted Environment II
Painted Environment II
Signed Print
David Hockney
£6,500-£10,000 VALUE (EST.)
$12,000-$18,000 VALUE (EST.)
$11,000-$17,000 VALUE (EST.)
¥50,000-¥80,000 VALUE (EST.)
€7,500-€11,500 VALUE (EST.)
$60,000-$100,000 VALUE (EST.)
¥1,040,000-¥1,600,000 VALUE (EST.)
$8,000-$12,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Photographic print, 1994
Signed Print Edition of 25
H 81cm x W 102cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Sotheby's Online - United Kingdom | Painted Environment II - Signed Print | ||||
| April 2019 | Christie's New York - United States | Painted Environment II - Signed Print | |||
| November 2003 | Bonhams Knightsbridge - United Kingdom | Painted Environment II - Signed Print |
Meaning & Analysis
Painted Environment II, is a photographic print executed in 1994 in an edition of 25. Executed by the much loved British artist David Hockney, this is a digital inkjet print in colour.
Painted Environment II, released in 1994 in an edition of 25, is one in a series of three prints constituting the Painted Environment series, which depicts paintings set in rooms wherein the floor and walls are covered in patterns echoing those within the paintings themselves, thus blurring the distinction between where the painting ends and the surrounding room begins. In Painted Environment II, there are three canvases placed on easels: two larger ones set behind a smaller one in the foreground. The canvas on the far-left is that which dominated the composition in Painted Environment I. The abstract forms seem inspired by the cubist forms of Picasso and Braque, yet the colour palette is decidedly more expressive and vibrant. Across Hockney’s career, in which he has tackled numerous media and subject matters, Hockney’s principal obsession continues to be the challenge of representation: how do we see the world and how can that world of time and space be captured in two dimensions. Here, Hockney has set two-dimensional artworks, in a three-dimensional space, to then render that installation in a two-dimensional photo: collapsing the depth of the work once more. In this sense, Hockney’s Painted Environment series exemplifies the ways in which Hockney has continually played with the conventions of picture making.
