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Merced River, Yosemite Valley - Signed Print by David Hockney 1982 - MyArtBroker

Merced River, Yosemite Valley
Signed Print

David Hockney

£25,000-£35,000Value Indicator

$50,000-$70,000 Value Indicator

$45,000-$60,000 Value Indicator

¥230,000-¥320,000 Value Indicator

30,000-40,000 Value Indicator

$240,000-$340,000 Value Indicator

¥4,790,000-¥6,710,000 Value Indicator

$30,000-$45,000 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: Photographic print

Edition size: 20

Year: 1982

Size: H 131cm x W 153cm

Signed: Yes

Format: Signed Print

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The value of David Hockney's Merced River, Yosemite Valley (signed) is estimated to be worth between £25,000 to £35,000. This photographic print, created in 1982, has an auction history of six total sales since its entry to the market on 2nd April 2008. The average annual growth rate of this work is 2%. The edition size of this artwork is limited to 20.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
November 2023Uppsala Auktionskammare Sweden
October 2017Sotheby's Online United Kingdom
February 2013Christie's London United Kingdom
March 2012Sotheby's New York United States
September 2011Christie's New York United States
April 2011Christie's New York United States
April 2008Christie's London United Kingdom

Meaning & Analysis

In Merced River, Yosemite Valley (1983), a key part of British artist David Hockney’s Photo Collages collection of works, the tyranny of the camera’s monocular vision is challenged once again. Here, Hockney turns his attention to the natural world, inscribing his literal and figurative footprint into the landscape of the Yosemite Valley, California. Making sure to include boxes, now empty of the photographic film they once contained, within the overall composition of the piece – they are piled onto the ground at the bottom left of the image – Hockney makes a direct, reflexive nod to the photographic format he is both using and distorting. Portraying a key landmark in the US state of California, his home for over 30 years, Hockney commits lived experience, as opposed to static, ‘lifeless’ imagery, to the card upon which he mounts these many individual photographs. Much like his other photographic works, such as Luncheon At The British Embassy, Tokyo, February 16th 1983 (1983), or Gregory Reading In Kyoto (1983), here a multi-perspectival approach to photography triumphs over its quite literally ‘short-sighted’ counterpart. Taking many small snapshots, each conveying minute details visible only to the eye, Hockney commits the transience of human experience to a fluid and multi-valent artistic form.

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