Howard Hodgkin

£1,000-£1,500 VALUE (EST.)

$1,850-$2,750 VALUE (EST.)

$1,700-$2,550 VALUE (EST.)

¥8,500-¥12,500 VALUE (EST.)

€1,150-€1,700 VALUE (EST.)

$9,500-$14,500 VALUE (EST.)

¥160,000-¥240,000 VALUE (EST.)

$1,200-$1,850 VALUE (EST.)

22% AAGR

This estimate blends recent public auction records with our own private sale data and network demand.

Auction Date

Auction House

Artwork

Hammer Price

Return to Seller

Buyer Paid

May 2022

Leland Little Auction & Estate Sales - United States

Indian View K - Signed Print

May 2022

Ivey-Selkirk - United States

Indian View K - Signed Print

November 2021

Shapiro Auctioneers - Australia

Indian View K - Signed Print

June 2020

Swann Auction Galleries - United States

Indian View K - Signed Print

September 2018

Christie's London - United Kingdom

Indian View K - Signed Print

September 2017

Bonhams Knightsbridge - United Kingdom

Indian View K - Signed Print

September 2017

Forum Auctions London - United Kingdom

Indian View K - Signed Print

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 an abstract representation. The composition is mostly occupied by two painted frames, one ivory and one bright green, which close in on a yellow and green abstract pattern.

read more about Indian Views

In Indian View K, Hodgkin resorts to various shades of one of his preferred colours, green. Against an ivory, pale background, the green frame and composition stand out with incredible vibrancy. The print was created after Hodgkin returned from one of his trips to India, one of Hodgkin’s favourite travel destinations as well as a muse in its own right of the artist’s oeuvre. In this print, Hodgkin sought to evoke the sights he encountered when he was travelling across the country by train. The framed, tiny representation worked to remind viewers of an old-fashioned train window, while the rich and bright colours evoke instead a green and fertile countryside field.

However, while the image may be representational, what mattered most to the artist was that each picture could re-present to himself and to the viewer an emotional state associated with a fixed moment in time, in this case, his travels to India. As Andrew Graham-Nixon noted about Hodgkin’s painterly language: “Hodgkin uses his own, self-created vocabulary of feather-edged bars, blobs, and bands and stripes of colour to create an image meant to exceed the formal nature of its devices, an image that conveys a feeling, and image that lives in the subtle play between its forms and the sudden shaft of reality that it seeks to communicate.”