£4,500-£7,000 VALUE (EST.)
$8,500-$13,500 VALUE (EST.)
$7,500-$11,500 VALUE (EST.)
¥40,000-¥60,000 VALUE (EST.)
€5,000-€8,000 VALUE (EST.)
$45,000-$70,000 VALUE (EST.)
¥820,000-¥1,270,000 VALUE (EST.)
$5,500-$8,500 VALUE (EST.)
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.
Signed Print Edition of 54
H 112cm x W 77cm
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
|Auction Date||Auction House||Artwork|
Return to Seller
|April 2023||Doyle New York - United States||Joe With Green Window - Signed Print|
|February 2022||Christie's New York - United States||Joe With Green Window - Signed Print|
|February 2018||Christie's New York - United States||Joe With Green Window - Signed Print|
|December 2016||Uppsala Auktionskammare - Sweden||Joe With Green Window - Signed Print|
|September 2015||Christie's London - United Kingdom||Joe With Green Window - Signed Print|
|April 2015||Shapiro Auctioneers - Australia||Joe With Green Window - Signed Print|
|July 2014||Christie's New York - United States||Joe With Green Window - Signed Print|
Characteristically for a portrait from David Hockney's Tyler Graphics 1979 Portfolio, in Joe With Green Window we find the sitter failing to meet the gaze of the artist – and viewer. Joe Macdonald, recognisable from his earlier portrait in the 1976 Friends series, is sat in a chair, his body slightly twisted so that he rests his hands on its back. The rest of the room is empty except for a bright red rug which contrasts and complements the blue of his Hawaiian shirt, and the green window of the title, which could refer to either green shutters or perhaps a view of lush vegetation. David Harte, who features with Joe Macdonald in an unsettling double portrait in this series, is nowhere to be seen. The mood is at once intimate and disquieting, the sitter’s downturned face appearing pensive and solemn. The work is also a testament to Hockney’s skill with the medium of lithography, which, by using a brush dipped in tusche (diluted lithographic ink), he was able to manipulate in order to turn a quick sketch into a painterly multiple. Here he makes full use of the medium’s ability to mix colours and presents us with a vibrant scene that reflects the exotic location hinted at in the sitter’s shirt.