Indian View G
Indian View G
Signed Print
Howard Hodgkin
£450-£700
$900-$1,450 Value Indicator
$850-$1,300 Value Indicator
¥4,350-¥7,000 Value Indicator
€550-€800 Value Indicator
$4,650-$7,000 Value Indicator
¥90,000-¥130,000 Value Indicator
$600-$950 Value Indicator
AAGR (5 years) 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.
Medium: Screenprint
Edition size: 75
Year: 1971
Size: H 58cm x W 78cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2024 | Bonhams Cornette de Saint Cyr | France | |||
| December 2023 | Forum Auctions London | United Kingdom | |||
| October 2023 | International Art Centre | New Zealand | |||
| May 2022 | Leland Little Auction & Estate Sales | United States | |||
| September 2017 | Bonhams Knightsbridge | United Kingdom | |||
| June 2017 | Leland Little Auction & Estate Sales | United States | |||
| March 2016 | Bonhams Knightsbridge | United Kingdom |
Meaning & Analysis
This signed screenprint from 1971 is a rare, limited edition of 75 from Howard Hodgkin’s Indian Views series. The horizontal print shows a simple and abstract representation. The image is framed by two black and brown frames, which close in on a small view dominated by whites, greens and blues.
In Indian View G, Hodgkin once again resorts to a dark frame for his image. Here, the small view piercing through the browns and blacks suggests an idyllic image of the countryside blessed by a clear blue sky, or alternatively of a green seaside view.
While the brash brushstrokes of green may suggest that the printing plates were painted in a rush, Hodgkin dedicated long amounts of time to decide what colours he was going to use and how colours should be arranged. In many interviews, the artist repeated that his abstract paintings could take months, sometimes even years, to be finished, because he wanted the colour patterns to capture exactly the feelings he associated with a certain memory. As John McEwan explained in his monography on the artist, “the idea is to put as much as possible, of colour, of feeling, in each picture.” Here, the bright blues and greens work against the brown and black of the frames and evoke instead the peaceful harmony of a day spent surrounded by nature.
