Late Afternoon In The Museum Of Modern Art
Late Afternoon In The Museum Of Modern Art
Signed Print
Howard Hodgkin
£750-£1,150Value
Indicator
$1,400-$2,150 Value Indicator
$1,250-$1,950 Value Indicator
¥6,500-¥10,500 Value Indicator
€850-€1,350 Value Indicator
$7,500-$11,500 Value Indicator
¥140,000-¥210,000 Value Indicator
$950-$1,450 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: Etching
Edition size: 100
Year: 1979
Size: H 74cm x W 99cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2020 | Swann Auction Galleries - United States | Late Afternoon In The Museum Of Modern Art - Signed Print | |||
| April 2018 | Phillips New York - United States | Late Afternoon In The Museum Of Modern Art - Signed Print | |||
| September 2012 | Bonhams Knightsbridge - United Kingdom | Late Afternoon In The Museum Of Modern Art - Signed Print |
Meaning & Analysis
This signed etching from 1979 is a limited edition of 100 from Howard Hodgkin’s In the Museum Of Modern Art series. The horizontal print presents to the viewer an abstract scene, dominated by a sepia background and marked by black brush strokes, that add a painterly quality to the image.
Late Afternoon In The Museum Of Modern Art, together with All Alone In The Museum Of Modern Art, Thinking Aloud In The Museum Of Modern Art and Early Evening In The Museum of Modern Art, represents Hodgkin’s attempt to convey on paper an early memory from his childhood, the countless days and evenings he spent visiting the Museum of Modern Art (MoMA) in New York. At a time when World War II was unsettling Europe, the safe walls of the museum provided the young artist with reassurance and comfort.
In this print, the feelings and emotions felt by Hodgkin emerge with full force through the gestural expressiveness of his marks, whereas the sepia undertones of the print situate the scene in a long-lost past. The trace of Hodgkin’s own hand and gesture, in this work, is further heightened through the presence of the artist’s fingerprints, which are scattered on the paper surface to evoke the spontaneity of children’s drawings.
