29

Howard Hodgkin

(1932-2017)

"Away," 2000

Sugar lift-ground etching, aquatint, and hand-coloring in Turner's yellow, cadmium red, and green acrylic on hand-made paper
Edition: 35/50
Initialed, dated, and numbered in pencil in the lower edge: HH; Jack Shirreff, Andrew Smith, and Claire Wait, at 107 Workshop, Wiltshire, England, prntr. Alan Cristea Gallery, London, England, pub.
Image/Sheet: 9.5" H x 11.125" W

  • Notes: According to the artist's website, "Away" is on 100% cotton paper from Two Rivers paper mill, Watchet, Somerset, England, and handmade by Jim Patterson. In addition, "Away" was hand-colored by Jack Shirreff.

    Other Notes: Four works by Howard Hodgkin in this auction provide a wonderful opportunity to consider the printmaking skills and interests of this British-born artist. The time span of the works, 1979-2002, happens to fall neatly in the middle of the 50 years during which -- in addition to his ongoing painting activities and his diverse commissions for everything from books and periodicals (see our print entitled "Books for the Paris Review"), to the set designs for professional dance companies -- Hodgkin created an impressive 189 different prints.

    According to Hodgkin's partner, Antony Peattie, "Prints mattered to Howard all his working life. He collected them avidly….He delighted in the way prints made his own work available to a wider public and revelled in its technical challenges, as collaboration with printers offered him an alternative to the lonely solitude of painting studio." Scholar Richard Morphet wrote, "With a deep understanding of the sophisticated techniques required to bring out the desired colours and textures…Hodgkin's printmaking methods were incredibly ambitious, spontaneous and hugely experimental. Hodgkin employed an enormous variety of printmaking techniques, from lithography, to screen-printing, to intaglio works with additional carborundum and hand-coloring. His method of layering three or even four different printmaking techniques gave new potential to the medium. The result was a painterly fusion of rich printed colour with the more immediate and luminous hand-colouring."

    Over time, the scale and technical intricacy of Hodgkin's prints tended to increase, and he occasionally switched master printers and publishers. What remained consistent through it all, however, was an ongoing interest in lush colors, broad, dynamic lines and marks, and the creation of mostly abstract compositions which he famously described as "representational pictures of emotional situations." His subjects were often very personal, stemming from memories and responses to people, places, literature, and admiration for artistic predecessors or peers such as Vuillard, Degas, Matisse, Hockney, and Ellsworth Kelly. Luckily, unlike some of his contemporaries, Hodgkin tended to title his paintings and prints; his descriptive word choices often help to make his abstract images more accessible than they would otherwise be.

    An impression of "Thinking Aloud in the Museum of Modern Art," is the earliest of his prints in our auction. It is one image from a series of four related soft-ground etchings recalling a visit (or visits) to that museum during different times of day, sometimes seemingly in the galleries with other visitors, and others during which the artist was alone with just the museum's artworks and the daylight from nearby windows. The 1990 color etching and aquatint with hand-coloring entitled "The Hospital Room was Choked with Flowers, Everybody Likes Flowers, Surplus Flowers, the Room was Filling up with Flowers," is also in this auction. It a poignant reminder of the fact that Hodgkin was a gay man who lived and worked in New York and England throughout the worst of the AIDS epidemic. Like the 1979 print just mentioned, this colorful intaglio was also made as one in a related series of images, each with an equally lengthy and telling title. In this case, Hodgkin made the five-print series after reading Susan Sontag's short story about a group of friends who learn that one of them has contracted AIDS. Her essay, "The Way We Live Now," was first published in "The New Yorker" magazine in November of 1986.

    In early 2011, art historian Leah Ollman interviewed Howard Hodgkin for a "Los Angeles Times" article. She wrote, "Hodgkin paints landscapes, portraits, and still lifes that rarely describe space and form literally but instead evoke corresponding emotional conditions. His works constitute a sensual diary of his travels and relationships, the views he's savored, the blossoms and sunsets, shifting weather and changing seasons." Additionally, she says, "Historians haven't always known where to situate Hodgkin beneath the chapter headings of 20th century art. At one point in the early 1990s, his work appeared in two nearly simultaneous exhibitions, one tracing postwar British abstractions and the other surveying 20th century British figurative painting…." Under the circumstances, Hodgkin's own words are perhaps the most helpful. "People want to categorize me. It's always irritated a lot of people who'd rather I was one thing or the other. Because all painting is essentially abstract, arguing about such definitions is usually a waste of breath and a waste of ink."
  • Condition: Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

    Framed under glass: 15.25" H x 17.25" W x 2" D


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November 21, 2023 12:00 PM PST
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