Lot 214
  • 214

Howard Hodgkin

Estimate
1,200 - 1,800 GBP
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Description

  • Howard Hodgkin
  • Red Listening Ear
  • signed and dated HH 86 in pencil (lower centre); inscribed AP (lower centre)
  • etching with carborundum printed in colours, with hand-colouring by Jack Shirreff
  • sheet: 47.5 by 64.4cm., 18 5/8 by 25 1/4 in.
  • Executed in 1986, the present work is an Artist's proof (aside from the edition of 100).
printed by 107 Workshop, Wiltshire, published by Bernard Jacobson Ltd., London, on TH Saunders NOT paper

Literature

Liesbeth Heenk, Howard Hodgkin Prints, London, 2003, no. 74

Condition

The full sheet (a deckle edge at each side), printed to the edges, in good condition, framed.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Red Listening Ear is one of the first prints Hodgkin made with carborundum and with Jack Sheriff as his hand-colourist. 1986 signals yet another shift in the artist’s printmaking style, as the hand-colouring begins to construct the image and dominate the paper. 

“That’s when Jack introduced me to the delights of carborundum, its ups and downs, in fact. It’s a hard substance that’s ground down and mixed into a paste. When it’s painted on to the printing plate, it makes a hill, which forces a valley into the surface of the paper. I’ve used it a lot to give relief to the surface.” (Howard Hodgkin, Working with the Printer, 1986)