David Hockney

Private Collection, New York
Private Collection
Bonhams, London, October 31, 2005, lot 99
Gerald Peters Gallery, Santa Fe
Acquired by the present owner from the above sale

Paris, Centre Georges Pompidou; New York, Richard Gray Gallery; London, Annely Juda Fine Art, David Hockney: Space & Line, January - September 1999, pp. 42-43, illustrated
Hamm, Germany, Gustav-Lubcke Museum, New Ways of Seeing, April - July 2006, pp. 24-25

This work is in very good condition overall. The surface is bright, fresh and clean. There are some slight pastel smudges along the border, possibly from the time of execution. The three sheets are attached and all hinged verso to the matte, intermittently along the edges. Framed under Plexiglas. *Please note the auction begins at 9:30 am on November 14th.*
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A Closer Grand Canyon, executed in 1998, delivers a superb illustration of David Hockney’s unique and intriguing working process. Scenes like these were created at the crux of his career during a switch into landscape exploration and technological inspiration. David Hockney is extremely concerned with the meaning behind his processes and this work wonderfully portrays that curiosity.

Prior to the late 1990s, Hockney’s forays into the landscape genre were primarily depictions of the strong colors and vibrant light of California, his adopted home. These creations were infused with vestiges of his emotional attachment to America and the American landscape. The expanse of this geologically incredible location amazingly depicted in the pinks and organges of Hockney’s pastels are only one subject to be seen. This image charts Hockney’s experience with and love for America. The Grand Canyon is known for its overpowering size and its intricate and vibrant landscape as well as its connection to Native American and contemporary American imagery. The intense beauty of the canyon is awe-inspiring, effecting all who encounter it.  Hockney’s drawing elevates the location, as a product of one of the most important contemporary artists, from a geological landscape to a vivid and emotional human experience. As a study, it invites us to explore the space and develop it further within the context of our own familiarity.

As a result of Hockney’s fascination with photography, technological processes, and the possibilities offered by multiple perspectives as a means of defining pictorial space, the artist’s paintings inevitably developed. The insights and foresights that photo-collage brought Hockney developed his perception and representation processes. Grand Canyon with Ledge, Arizona, Oct. 1982, Collage #2, which Hockney made in May 1986 is a study of the same space as A Closer Grand Canyon. Both studies embrace multiple perspectives and experiment with spatial representation in a large scale across multiple pieces. Hockney’s intense connection with the scene depicted defines this serene landscape as an epic homage to this great American location but also to his appreciation for the working progress.