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My Mother, Los Angeles, Dec - Signed Print by David Hockney 1982 - MyArtBroker

My Mother, Los Angeles, Dec
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: 1982

Size: H 132cm x W 99cm

Signed: Yes

Format: Signed Print

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The value of David Hockney’s My Mother, Los Angeles, Dec (signed) is estimated to be worth between £35,000 to £50,000. This photographic print from 1982 has an auction history of two sales since its entry to the market on 10th September 2019. The artwork demonstrates a screenprint growth rate of 10% and is part of a limited edition of 20.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
September 2019Phillips London United Kingdom
September 2019Sotheby's Online United Kingdom

Meaning & Analysis

Much like another of Hockney’s photo collage pieces from the same year, such as My Mother, Bolton Abbey, Yorkshire, November (1982), My Mother, Los Angeles, Dec (1982) depicts Hockney’s mother, Laura, following the death of her husband, Kenneth. Although Hockney’s mother is the main focal point of its composition, the piece makes a point of including numerous other details within its ocular scope, mostly in the form of household objects; dotted around Laura Hockney we can see a Poinsettia plant, a large collection of what appear to be encyclopaedias, and a suitcase which alludes to Hockney’s mother having travelled to visit her son in the United States from Yorkshire. In a nod to the theatrical preoccupations of some of Hockney’s earlier ‘80s works and the Hockney And The Stage series, a book on wildly-successful English theatre actor John Gielgud is positioned at Hockney’s mother’s feet; referencing the artist’s recent work for the Metropolitan Opera in New York City, a painted sketch of a pulcinella character sits on top of the bookcase. These many small details disrupt the habitual, unifocal scope of the traditional portrait – a format only further questioned by the whimsical inclusion of Hockney’s own feet at the bottom of the composition, a gesture which renders this piece a double portrait of sorts. Much like in many of the other prints in this series, including Luncheon At The British Embassy, Tokyo, February 16th 1983 (1983), or Gregory Reading In Kyoto (1983), each individual image mimics the movement of Hockney’s eye.

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