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As You'd Been Wont - Signed Print by Howard Hodgkin 1991 - MyArtBroker

As You'd Been Wont
Signed Print

Howard Hodgkin

£800-£1,200Value Indicator

$1,600-$2,400 Value Indicator

$1,450-$2,150 Value Indicator

¥7,000-¥11,000 Value Indicator

950-1,450 Value Indicator

$8,000-$11,500 Value Indicator

¥150,000-¥230,000 Value Indicator

$1,000-$1,500 Value Indicator

2% AAGR

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

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Medium: Aquatint

Edition size: 50

Year: 1991

Size: H 30cm x W 43cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Howard Hodgkin's As You'd Been Wont (signed) is estimated to be worth between £800 to £1,200. This aquatint artwork from 1991 has shown consistent value growth, with an average annual growth rate of 3%. This is a rare work, having been sold 4 times at auction since its initial sale on 5th October 2005. The hammer price over the last five years has ranged from £685 in June 2021 to £1,056 in September 2019. The edition size of this piece is limited to 50.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
November 2022Toomey & Co. Auctioneers United States
April 2019Christie's London United Kingdom
September 2018Christie's London United Kingdom
October 2005Christie's London United Kingdom

Meaning & Analysis

As You’d Been Won’t was the first print produced by Hodgkin to illustrate Susan Sontag’s seminal 1986 novel, The Way We Live Now. The story of the novel revolves around an unnamed man’s struggle with AIDS throughout the 1980s pandemic and recounts the visits to the hospital of his group of friends. As the main character falls more and more ill, the characters dwell on life as they know it. As You’d been Won’t, Hodgkin’s chosen title, therefore, reflects the growing awareness of irrevocable loss, that of their friends’ life but also of their own, that emerges out of the characters’ reflections throughout the book.

Through reference to the book, Hodgkin’s choice of sepia and yellow tones acquire further meaning as a mirror of the characters’ nostalgic and melancholic memories of the past, of a past now lost and irreproducible in the present. Sontag wrote the book at a time when the AIDS pandemic had become a reality permeating not only America but also England and the rest of the world. Hodgkin’s contribution to the dialogue surrounding the AIDS pandemic places this unique print not only at the forefront of Hodgkin’s production on paper but mostly at the centre of contemporary history.