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Peter Washing, Belgrade, September - Signed Print by David Hockney 1976 - MyArtBroker

Peter Washing, Belgrade, September
Signed Print

David Hockney

Price data unavailable

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Digital Print

Edition size: 80

Year: 1976

Size: H 21cm x W 27cm

Signed: Yes

Format: Signed Print

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The value of David Hockney’s Peter Washing, Belgrade, September (signed) is estimated to be worth between £12,000 to £18,000. This digital print, created in 1976, is a rare artwork with an auction history of three total sales since its entry to the market on 28th June 2018. There have been no sales within the last 12 months, and over the past five years, the hammer price has remained consistent. The edition size of this artwork is limited to 80.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
November 2018Millea Bros. United States
November 2018Millea Bros. United States
June 2018Phillips New York United States

Meaning & Analysis

This signed print by venerated British artist David Hockney is entitled Peter Washing, Belgrade, September. It was released in an edition of 80 in 1976. A photographic print, it captures the nude body of Hockney’s onetime lover and artist, Peter Schlesinger, a recurring subject of Hockney’s work immortalised in the world-famous painting, Portrait Of An Artist (Pool With Two Figures). Hockney’s reflection, and camera, also appear in the image; reflected back to us by way of a mirror, the piece’s disruption of any singular, unifocal ‘way of seeing’ or ‘looking’ can be seen as an extension of Hockney’s artistic philosophy. As in the much celebrated – and much imitated – Photo Collages series, in which Hockney creates composite, multi-perspectival works from a multitude of individual photographs, here Hockney circumvents the limitations of an inherently limited medium – the camera – which he often derided as ‘lazy’, being sure to include more than one perspective within an otherwise singular image. The mirror creates a rhetorically charged mise-en-abyme effect which questions the role of the artist, and the viewer, in creating any given representation of an object or person. A framing device of sorts, this piece recalls the trompe l’œil frames of A Hollywood Collection, and the theatre drop curtain in Hockney And The Stage.

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