Gorge d'Incre
Gorge d'Incre
Signed Print
David Hockney
£15,000-£22,000 VALUE (EST.)
$28,000-$40,000 VALUE (EST.)
$25,000-$35,000 VALUE (EST.)
¥130,000-¥190,000 VALUE (EST.)
€17,000-€26,000 VALUE (EST.)
$150,000-$210,000 VALUE (EST.)
¥2,610,000-¥3,820,000 VALUE (EST.)
$19,000-$27,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Lithograph, 1993
Signed Print Edition of 68
H 48cm x W 62cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2022 | Rosebery's Fine Art Auctioneers - United Kingdom | Gorge d'Incre - Signed Print | |||
| June 2018 | Phillips London - United Kingdom | Gorge d'Incre - Signed Print | |||
| July 2011 | Christie's New York - United States | Gorge d'Incre - Signed Print | |||
| November 2010 | Phillips New York - United States | Gorge d'Incre - Signed Print | |||
| March 2007 | Bonhams New Bond Street - United Kingdom | Gorge d'Incre - Signed Print | |||
| October 2004 | Bonhams San Francisco - United States | Gorge d'Incre - Signed Print |
Meaning & Analysis
A great wave swells up above a series of standing stones or shadowy figures. Planes of colour converge and consume each other, their various textures and colours provoking dynamic counterpoints. Here Hockney – with the help of the famous Gemini G.E.L. workshop in LA – is pushing the medium of lithography to its limits, creating daring and bold compositions that combine a range of techniques and marks to form something entirely new. The style of Gorge Incre recalls that of the series Some New Paintings which saw Hockney achieving these effects on canvas. Here the work has been flattened and yet the dynamism is retained, thanks to the layers of depth added by the various textures. As with the series that precedes this one, Some New Prints, the works in Some More New Prints also recall the colourful compositions Hockney produced when he was commissioned to design sets for the opera Die Frau Ohne Schatten, of which he remarked, “These started simply and grew more and more complex. I soon realized that what I was doing was making internal landscapes, using different marks and textures to create space, so that the viewer wanders around.”
