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Gregory Reading In Kyoto - Signed Print by David Hockney 1983 - MyArtBroker

Gregory Reading In Kyoto
Signed Print

David Hockney

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

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Medium: Photographic print

Edition size: 20

Year: 1983

Size: H 100cm x W 108cm

Signed: Yes

Format: Signed Print

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The value of David Hockney's Gregory Reading In Kyoto (signed) is estimated to be worth between £15,000 and £23,000. This photographic print, created in 1983, has an auction history of five total sales since its entry to the market in November 2006. The average annual growth rate of this work is 4% and the edition size is limited to 20.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2022Doyle Auctioneers & Appraisers United States
April 2018Sotheby's New York United States
October 2014Doyle Auctioneers & Appraisers United States
November 2006Wright United States
November 2006Wright United States
December 1993Christie's London United Kingdom

Meaning & Analysis

This signed print by British artist David Hockney is another of the artist’s works which deals explicitly with the question of the image and its relationship to the camera: works often brought together under the umbrella term ‘joiners’. Part of a limited edition of 20 signed prints, this image disrupts the dynamic and lifelike representation the camera purports to provide, but which Hockney regarded as too static. A holiday scene of sorts, it is concerned in part with the depiction of the interior of a traditional Japanese home. Hockney and long-term friend and one-time lover Gregory Evans are relaxing; as Gregory reads, Hockney explores the scene’s many different angles with his camera. Recalling one of Hockney’s most famous photo collage works, Walking In The Zen Garden At The Ryoanji Temple, created in the same year, a Japanese garden fills the left side of the composition. A map of Kyoto – positioned in Hockney’s lap towards the bottom of the composition – acts as a cartographic mirror, reflecting the rigid, geometric edges of the individual photographs, layered over one another in the gestural and expressive fashion for which Hockney is well-known. Every moment and movement is captured; whether Gregory is smoking, positioned with his hand on his head, or resting with a hand on his knee, here Hockney looks beyond the ‘frozen moment’ of the camera, opting instead for the multiple visual and temporal perspectives offered by his photo collage technique.

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