£35,000-£50,000 Value Indicator
$70,000-$90,000 Value Indicator
$60,000-$80,000 Value Indicator
¥310,000-¥440,000 Value Indicator
€40,000-€60,000 Value Indicator
$330,000-$480,000 Value Indicator
¥6,380,000-¥9,110,000 Value Indicator
$45,000-$60,000 Value Indicator
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Signed Print Edition of 46
H 64cm x W 88cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|October 2019||Christie's New York - United States||The Painter's Garden - Signed Print|
|March 2016||Sotheby's London - United Kingdom||The Painter's Garden - Signed Print|
|September 2015||Sotheby's London - United Kingdom||The Painter's Garden - Signed Print|
|October 2014||Christie's New York - United States||The Painter's Garden - Signed Print|
|November 2012||Sotheby's London - United Kingdom||The Painter's Garden - Signed Print|
|September 2012||Sotheby's London - United Kingdom||The Painter's Garden - Signed Print|
|February 2012||Christie's London - United Kingdom||The Painter's Garden - Signed Print|
This landscape etching was created by Lucian Freud in 2003, and forms part of our collection of Freud's Plants prints. No element of the etching plate seems to have been left untouched by Freud's needle, as the wild scene sprawls to every edge of the paper background. With the application of varied tone during the printing process on the far left and right of the composition, Freud provides emphasis on the centre of the work and gives the natural scene an atmospheric quality.
Lucian Freud is renowned for his masterful handling of the etching needle, and The Painter's Garden is testament to his ability to bring a sense of liveliness to this monochromatic printing process. Through varied tone and a range of mark-making throughout the work, Freud gives this landscape a tonality that mimics the natural light he observed when creating this work en plein air.
From the top right, the leaves of a willow tree cascade towards the centre, drawing a powerful compositional line towards the shrubbery on the ground. By not overworking the etching plate in these areas, the leaves seem to glisten with rain or morning dew. Though the work is monochromatic and two-dimensional, Freud's handling of line and tone gives the scene a natural movement, as though the etched leaves might be able to move with the wind. Whether Freud was working from human, animal, or plant subject matter, he etched them with the same meticulous attention to detail, telling of his close attachment to the places most familiar to him.