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David Hockney
Sunday Morning Mayflower Hotel NY Nov. 28, 1982 David Hockney photo collage

1982

$110,000

About

This Hockney photographic collage depicts the artist in his suite at the Mayflower Hotel while preparing designs for the sets and costumes of a French Triple Bill of opera and ballet at Lincoln Center, New York. Decorated in earth tones and shades of sepia, the room is seen from the point of view of the artist who is reclining on the bed. At the center of the composition, a mirror reveals the artist in the act of photography, a black camera obscuring his face. A pack of Gitanes cigarettes are placed atop a glass ashtray, by a rotary phone. Stacks of books on the bureau suggest an extended stay. Hockney’s gold-ringed hand is outstretched to the left, while his body is obscured by newspapers spread across the bed. On the cover of The New York Times Book Review, Robert Lowell’s stern visage: “The Poet at the Center”. To the right lies a color program for the Metropolitan Opera’s 1982-83 season, Hockney’s sly nod to their production of Parade, a triple-bill of short French pieces directed by John Dexter, for which Hockney designed innovative sets and costumes. The production included Satie's ''Parade,'' Poulenc's ''Les Mamelles de Tiresias'' and Ravel's ''L'Enfant et les Sortileges.” Hockney was staying at the Mayflower Hotel, located opposite from Lincoln Center, to work on this project. While the artist has removed almost all traces of his body -- save a curiously large hand, and his obscured reflection -- this work is remarkably personal, lacking the cool detachment sometimes found in the artist's carefully composed formal portraits. His inclusion, for example, of carelessly discarded towels and slippers tossed to the floor, convey a tender openness. Mounted on a chestnut-brown backing board, the panorama of photographs verges on a fish-eye view, giving the sense of a tranquil sanctuary; a warm cocoon to pass languid Sunday hours. To the right, a glimmer of building tops out the window alludes to the Mayflower Hotel’s inimitable views just west of Central Park. David Hockney photo collage entitled "Sunday Morning Nov. 28, 1982 Mayflower Hotel NY" Collage of chromogenic prints, mounted on board. Signed by the artist, annotated #5 (from a series of 20), and dated 1982 lower right in white ink. In its original maple frame, with UV plexiglass face. Hockney perceived traditional photography as distancing the viewer. The New York Times interviewed Hockney while staying at the Mayflower Hotel, from the very bed pictured in this collage. The artist explained: “One-point perspective portrays a single, frozen moment, seen by a single, unmoving eye. But humans do not see that way. Their eyes are constantly moving, seeing in many little glances. Even when we are asleep, our eyes move.'' He views each photograph as a “glance” that could be combined to reproduce more accurately the action of looking. ''It's a more human way of seeing,'' the artist explains. ''Your body's been given back to you, in a sense.'' Originally two side-by-side residential hotels called the Mayflower-Plymouth, which opened in 1926, the building was designed by Emery Roth. "This structure was yet another of Roth's fine background buildings," Steven Ruttenbaum wrote in "Mansions in the Clouds: The Skyscraper Palazzi of Emery Roth" and "made a valuable contribution to the New York streetscape." Charles Suisman wrote in The New York Times in 2000 that the Mayflower "hasn't been cutting edge in over 70 years -- but it's got that front row seat on the park that's as comfortable as a Barcalounger." In 2004, developers Will and Arthur Zeckendorf demolished the hotel to make way for the city’s most exclusive residences at 15 Central Park West. The Zeckendorfs would end up paying the highest price ever recorded to relocate a single tenant: over $17 million to the Mayflower’s last holdout, an eccentric and reclusive physicist named Herbert Sukenik. Hockney has been an avid portraitist throughout his career, drawing and painting subjects ranging from his mother and Celia Birtwell, his muse over many decades, to art dealer Larry Gagosian and artist John Baldessari. Collection: The Art Institute of Chicago, Chicago; LACMA (Los Angeles County Museum of Art), Los Angeles Catalogue Reference: “Cameraworks” Alfred A. Knopf 1984 pl. 75C “Hockney’s Photographs” Hayward Gallery, London 1983 Text by Mark Haworth-Booth and David Hockney, p. 25.

Details

  • Artist
    David Hockney (1937, British)
  • Creation Year
    1982
  • Dimensions
    Height: 50 in. (127 cm)Width: 77 in. (195.58 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    Photo collage in good condition with fresh colors. It has been stored away from natural light since its making. The frame is in generally good condition, with minor wear.
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121125582812

Shipping & Returns

  • Shipping
    Rates vary by destination and complexity. We recommend this shipping type based on item size, type and fragility.
    Ships From: New York, NY
  • Return Policy

    A return for this item may be initiated within 7 days of delivery.

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About David Hockney (Artist)

The art of David Hockney is always engaging in its pleasant ambiguities: It’s warm but somehow aloof; filled with light yet often dark and brooding in subject; simple, frank and mundane, but also ethereal and complex. The artist’s stature in the contemporary- art world is such that, in a 2011 survey of one thousand British painters and sculptors, he was named the most influential British artist of all time.


Hockney grew up in Bradford, in the northern English county of Yorkshire, studying at the Bradford School of Art from 1953 to ’57, and at the Royal College of Art in London from 1959 to ’ 1962. Though he was educated in art a time when abstraction dominated the field, Hockney stuck resolutely to figurative painting and drawing. His early paintings suggest a search for a style, veering from Expressionism to a grotesquerie suggestive of James Ensor. But Hockney found himself almost the moment he arrived in Los Angeles, in 1963. The move from the gray and rainy Britain to a world of bright sunshine and sparkling water brought Hockney a sense of freedom and an artistic epiphany. He would spend most of the next five years in L.A., painting luminous pictures, such as A Bigger Splash (1967), of things that made him happy: swimming pools, manicured lawns, palm trees, stucco buildings and luxuries like shower stalls. Hockney also painted people, almost always his friends. His California portraits such as Beverly Hills Housewife (1966) are considered to be his finest work. They are at once grandly scaled, intimate and poetic.


In the 1970s, Hockney moved back to Britain and spent much of his time on photography and printmaking. He returned to painting in the 1980s, and to subjects like still lifes, seascapes and portraits. Hockney has always been fascinated by the use of technology in art — he’s credited with inventing the technique of joining Polaroid photos in a collage to form a panoramic picture — and has been using the Brush app to paint on an iPad. Because he is prolific and works in a wide range of mediums, Hockney’s art is available at many price points. His consistently striking and provocative work should have a place in any comprehensive collection of contemporary art.

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