Interior With Figure
Interior With Figure
Signed Print
Howard Hodgkin
£2,300-£3,400 VALUE (EST.)
$4,250-$6,500 VALUE (EST.)
$3,900-$5,500 VALUE (EST.)
¥19,000-¥29,000 VALUE (EST.)
€2,600-€3,850 VALUE (EST.)
$22,000-$35,000 VALUE (EST.)
¥370,000-¥540,000 VALUE (EST.)
$2,800-$4,150 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Lithograph, 1966
Signed Print Edition of 75
H 50cm x W 65cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2018 | Forum Auctions London - United Kingdom | Interior With Figure - Signed Print | |||
| September 2016 | Sotheby's Online - United Kingdom | Interior With Figure - Signed Print | |||
| May 2016 | Swann Auction Galleries - United States | Interior With Figure - Signed Print | |||
| November 2012 | Bonhams New Bond Street - United Kingdom | Interior With Figure - Signed Print | |||
| May 2011 | Stair Galleries - United States | Interior With Figure - Signed Print | |||
| January 2008 | Lyon & Turnbull Edinburgh - United Kingdom | Interior With Figure - Signed Print |
Meaning & Analysis
This signed lithograph from 1968 is a rare, limited edition of 75 from Howard Hodgkin’s 5 Rooms series. The horizontal print presents to the viewer an abstract scene, punctuated by amorphous geometrical shapes that overlap with each other. The print is dominated by an ivory background and by different shades and hues of blue layered on top of it.
Interior With Figure is one of the few prints in which Hodgkin, who is known for his abstracted views of outside landscapes, depicted an interior space – a choice that situates the print within a long art historical tradition of capturing domestic interiors. Unlike the other prints in the portfolio, however, here Hodgkin does not explain who the subject portrayed is, leaving it up to the viewer to wonder, and identify, with the representation. Even more so than Girl On A Sofa and Girl At Night, in this work, Hodgkin makes use of an abstract language of geometrical shapes and colour – here still in its early developments.
With its morphing and fluid shapes interacting with one another on paper, the work is closer to the vocabulary of early exponents of abstract art – such as Wassily Kandinsky – than to the explosive and synergetic palette of colours that will become characteristic of Hodgkin’s personal style.
