The Studio, March 28th 1985
The Studio, March 28th 1985
Signed Print
David Hockney
£10,500-£16,000
$20,000-$30,000 Value Indicator
$18,000-$27,000 Value Indicator
¥100,000-¥150,000 Value Indicator
€12,500-€19,000 Value Indicator
$100,000-$160,000 Value Indicator
¥2,010,000-¥3,060,000 Value Indicator
$13,000-$20,000 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: Digital Print
Edition size: 45
Year: 1995
Size: H 84cm x W 106cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2021 | Sotheby's Online - United Kingdom | The Studio, March 28th 1985 - Signed Print | |||
| March 2018 | Christie's London - United Kingdom | The Studio, March 28th 1985 - Signed Print | |||
| June 2015 | Phillips London - United Kingdom | The Studio, March 28th 1985 - Signed Print |
Meaning & Analysis
This photographic print by much-loved British artist David Hockney. It was issued in an edition of 45 in 1995, it depicts the interior of Hockney’s studio, as well as two artworks from the Snails Space series.
This signed photographic print by British artist David Hockney is entitled The Studio, March 28th, 1995. In 1995, created an installation entitled Snails Space With Vari-Lites (1995-1996). The large-scale piece was exhibited at Washington D.C.’s Smithsonian Museum in the same year. As in the signed print series Snails Space, this print captures a birds-eye-view view of this mixed media installation piece, a striking and remarkably unique element of Hockney’s wider œuvre that makes an extended use of abstraction. In this particular print, a smaller study positioned on an easel echoes the forms of mixed media piece, assembled on the rear wall and floor of the studio. Captured by a photograph, Hockney’s interest in this scene suggests some kind of rhetorical exercise concerning spectatorship, and the mise-en-abyme effect. The limits of the canvas are no obstruction to the willed distortion and elision of boundaries between artwork, gallery space, and photograph. Commenting on the genre-bending nature of the piece depicted in this print series, Hockney once said: ‘The original painting is on two canvases measuring 84 by 240 inches, but I decided to continue the painting on the floor immediately in front of it, so we constructed a three-dimensional extension using real cubes, cones, and cylinders’.
