In A Chiaroscuro
In A Chiaroscuro
Signed Print
David Hockney
£4,400-£6,500 VALUE (EST.)
$8,500-$12,500 VALUE (EST.)
$7,500-$11,000 VALUE (EST.)
¥40,000-¥60,000 VALUE (EST.)
€5,000-€7,500 VALUE (EST.)
$45,000-$60,000 VALUE (EST.)
¥810,000-¥1,190,000 VALUE (EST.)
$5,500-$8,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Intaglio, 1977
Signed Print Edition of 200
H 43cm x W 50cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Freeman's Online - United States | In A Chiaroscuro - Signed Print | |||
| September 2022 | Phillips London - United Kingdom | In A Chiaroscuro - Signed Print | |||
| September 2022 | Shapiro Auctioneers - Australia | In A Chiaroscuro - Signed Print | |||
| March 2020 | Sotheby's Online - United Kingdom | In A Chiaroscuro - Signed Print | |||
| October 2019 | Wright - United States | In A Chiaroscuro - Signed Print | |||
| May 2018 | Doyle New York - United States | In A Chiaroscuro - Signed Print | |||
| March 2018 | Sotheby's Online - United Kingdom | In A Chiaroscuro - Signed Print |
Meaning & Analysis
In 1976 Hockney visited Fire Island with his friends Henry Geldzahler and writer Christopher Isherwood. It was here that he came across Wallace Stevens’s 1936 poem The Man with the Blue Guitar which had been inspired by a 1903 painting by Picasso entitled The Old Guitarist. Hockney decided to base a series of works on the poems and described how the ‘etchings themselves were not conceived as literal illustrations of the poem but as an interpretation of its themes in visual terms. Like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame’. Here we see that juxtaposition between reality and imagination illustrated to full effect in this enigmatic interior scene that plays with our perception of space and appears almost theatrical in its composition. While discordant shapes and objects interact however, the colours of the work softly complement each other, showing Hockney’s mastery of the sugar lift aquatint technique he learned in the early ’70s.
