Bedroom
Bedroom
Signed Print
Howard Hodgkin
£1,400-£2,100
$2,750-$4,100 Value Indicator
$2,500-$3,750 Value Indicator
¥13,000-¥19,000 Value Indicator
€1,700-€2,500 Value Indicator
$14,000-$21,000 Value Indicator
¥270,000-¥410,000 Value Indicator
$1,750-$2,650 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: Lithograph
Edition size: 75
Year: 1968
Size: H 51cm x W 65cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| February 2024 | Leslie Hindman Auctioneers, Chicago | United States | |||
| November 2017 | Bonhams Knightsbridge | United Kingdom | |||
| September 2012 | Christie's London | United Kingdom | |||
| June 2008 | Bonhams New Bond Street | United Kingdom | |||
| January 2008 | Lyon & Turnbull Edinburgh | United Kingdom |
Meaning & Analysis
This signed lithograph from 1968 is a rare, limited edition of 75 from Howard Hodgkin’s 5 Rooms series. The horizontal print presents to the viewer a vividly colourful abstract scene on a white background, dominated by the sharp contrast between the warm tones of red and orange and the full turquoise and black.
Bedroom, together with Girl On A Sofa, Girl At Night, Interior With Figure and Indian Room, represents one of Hodgkin’s earliest attempts at printmaking, and, with its unique features, is one of the rarest prints in his production. The scene is abstract and representational details are scarce, in true Hodgkin style, but the title situates the image within the interior space of a bedroom, an interesting and surprising departure from Hodgkin’s habit of portraying landscapes or window views.
To further differentiate it from the artist’s later works, Bedroom is also starkly bare and simple compared to Hodgkin’s highly rich explosions of colour, where the painterly brushstrokes often protrude outside of the paper and onto the frame. Instead, in this work, Hodgkin decided to focus the viewer’s attention on the centre of the print, where a clear-cut turquoise geometrical shape, delineated by a thick black outline, interacts with a less-defined orange shape.
