Howard Hodgkin
GIRL AT NIGHT
Lot. Vendu
4,750 GBP
(Prix d’adjudication avec commission acheteur)
Details & Cataloguing
Howard Hodgkin
1932 - 2017
GIRL AT NIGHT
printed by Emil Matthieu, Zurich, with the publisher's stamp in black ink, Editions Alecto Ltd., London, on BFK Rives wove paper
signed and dated Hodgkin '66 in pencil (lower left); inscribed and numbered artist's proof 6/15 (lower left)
lithograph printed in colours, from the 5 Rooms portfolio
sheet: 50.2 by 64.8cm., 19 3/4 by 25 1/2 in.
Executed in 1966, the present work is an Artist's proof (aside from the edition of 75).
Lire le rapport d'état
Lire le rapport d'état
signed and dated Hodgkin '66 in pencil (lower left); inscribed and numbered artist's proof 6/15 (lower left)
lithograph printed in colours, from the 5 Rooms portfolio
sheet: 50.2 by 64.8cm., 19 3/4 by 25 1/2 in.
Executed in 1966, the present work is an Artist's proof (aside from the edition of 75).
Bibliographie
Liesbeth Heenk, Howard Hodgkin Prints, London, 2003, no. 6
Description
The first stage of Hodgkin’s print making oeuvre is largely formative and ran closely parallel to his painting. The works are bold in both their style and colour. The large geometric shapes that can be seen in this work are characteristic of Hodgkin’s first prints, as well as the wider cultural context of the 1960s pop art movement. However, “Hodgkin says that he was very proud to once appear in the index of a book on pop art under the entry: "Howard Hodgkin is not a pop artist."” (Nicholas Wroe, The Guardian, March 2001)
Girl at Night was commissioned by Paul Cornwall Jones of Editions Alecto. Working with the printer Emil Matthieu, Hodgkin produced five lithographs, together known as ‘5 Rooms’. Throughout the portfolio, the artist explores the relationship between people and places, individuals and interiors. The relational aspect of these figures, and the rooms that they occupy, is the driving focus of the majority of Hodgkin’s early prints. The result is one that is both intimate and impersonal, as the viewers themselves are asked to explore the impact of their own gaze on these moments and memories.
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