HOWARD HODGKIN "BOOKS FOR THE PARIS REVIEW" ETCHING, 1997
Howard Hodgkin (1932-2017) was a renowned British painter and printmaker and an acclaimed figure of twentieth-century abstraction. Drawing inspiration from everyday life, he rendered sentimental motifs through a unique (and fluctuating) synthesis of abstract and representational styles.
Hodgkin's printmaking methods were ambitious, spontaneous, and experimental. By layering different techniques, he was able to create complex painterly expressions in his multiples. Hodgkin enjoyed creating commissions - this image was made for the Paris Review, a New York cultural journal.
"Books for the Paris Review" is a wonderful example of Hodgkin's unique printmaking methods. One of the techniques used, carborundum, partly embosses the paper when printed, giving the work a relief-like characteristic. Starting with several kinds of etching as a base, each print gets hand-coloured with ultramarine blue, green, and cadmium red. This hand-colouring technique is highly-admired by the artist and integral to his printmaking process. He employs an assistant to do the hand-colouring under close supervision to avoid any temptations at altering repeated imagery.
Swirling, brush-like marks printed in black are overlaid by a frame-like veil of cadmium red. Two bold strokes of green and ultramarine blue lay in its centre, slightly translucent and textured in their application. This red shape emulates Hodgkin's characteristic frame-within-a-picture device, where he would often incorporate a pictorial frame.
Like many of Hodgkin's paintings, his print has a patiently layered, gestural quality. Unlike many of his pieces, the title "Books for the Paris Review" does not allude to aspects of his daily life (such as a meal eaten, a mood experienced, or a moment recalled). Despite this, it is probable that the inspiration for the image originated in a memory, event, or moment that he then imaginatively transformed.
This print is in the permanent collection of the Tate.
In 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992. Today, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Books for the Paris Review"
1997-99
Initialed "HH" numbered "49/80" and dated "97" by artist in pencil, lower edge
15"H 16.25"W (work)
21.5"H 22.75"W (framed)
Lift-ground etching and aquatint from three copper plates, with carborundum from one aluminum plate, printed in three shades of grey and two shades of black, with hand colouring in ultramarine blue, green, and cadmium red acrylic. On 100% cotton paper from Two Rivers paper mill, Watchet, Somerset (350 gsm), hand made by Jim Patterson.
Proofed by the artist and Jack Shirreff. Printed by Jack Shirreff, assisted by Andrew Smith and Claire Wait at the 107 Workshop, Wiltshire. Hand coloured by Jack Shirreff.
Published by the Paris Review, New York, 1998
Overall good condition. Full report available on request.
Literature:
Heenk 100
Howard Hodgkin: Small Prints, exhibition catalogue, Alan Cristea Gallery, London 2001, reproduced (colour) p.6
Howard Hodgkin: Venetian Views 1995, exhibition catalogue, Alan Cristea Gallery, London 1995
Howard Hodgkin: Prints 1977-1983, exhibition catalogue, Tate Gallery, London 1985
Howard Hodgkin (1932-2017) was a renowned British painter and printmaker and an acclaimed figure of twentieth-century abstraction. Drawing inspiration from everyday life, he rendered sentimental motifs through a unique (and fluctuating) synthesis of abstract and representational styles.
Hodgkin's printmaking methods were ambitious, spontaneous, and experimental. By layering different techniques, he was able to create complex painterly expressions in his multiples. Hodgkin enjoyed creating commissions - this image was made for the Paris Review, a New York cultural journal.
"Books for the Paris Review" is a wonderful example of Hodgkin's unique printmaking methods. One of the techniques used, carborundum, partly embosses the paper when printed, giving the work a relief-like characteristic. Starting with several kinds of etching as a base, each print gets hand-coloured with ultramarine blue, green, and cadmium red. This hand-colouring technique is highly-admired by the artist and integral to his printmaking process. He employs an assistant to do the hand-colouring under close supervision to avoid any temptations at altering repeated imagery.
Swirling, brush-like marks printed in black are overlaid by a frame-like veil of cadmium red. Two bold strokes of green and ultramarine blue lay in its centre, slightly translucent and textured in their application. This red shape emulates Hodgkin's characteristic frame-within-a-picture device, where he would often incorporate a pictorial frame.
Like many of Hodgkin's paintings, his print has a patiently layered, gestural quality. Unlike many of his pieces, the title "Books for the Paris Review" does not allude to aspects of his daily life (such as a meal eaten, a mood experienced, or a moment recalled). Despite this, it is probable that the inspiration for the image originated in a memory, event, or moment that he then imaginatively transformed.
This print is in the permanent collection of the Tate.
In 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992. Today, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Books for the Paris Review"
1997-99
Initialed "HH" numbered "49/80" and dated "97" by artist in pencil, lower edge
15"H 16.25"W (work)
21.5"H 22.75"W (framed)
Lift-ground etching and aquatint from three copper plates, with carborundum from one aluminum plate, printed in three shades of grey and two shades of black, with hand colouring in ultramarine blue, green, and cadmium red acrylic. On 100% cotton paper from Two Rivers paper mill, Watchet, Somerset (350 gsm), hand made by Jim Patterson.
Proofed by the artist and Jack Shirreff. Printed by Jack Shirreff, assisted by Andrew Smith and Claire Wait at the 107 Workshop, Wiltshire. Hand coloured by Jack Shirreff.
Published by the Paris Review, New York, 1998
Overall good condition. Full report available on request.
Literature:
Heenk 100
Howard Hodgkin: Small Prints, exhibition catalogue, Alan Cristea Gallery, London 2001, reproduced (colour) p.6
Howard Hodgkin: Venetian Views 1995, exhibition catalogue, Alan Cristea Gallery, London 1995
Howard Hodgkin: Prints 1977-1983, exhibition catalogue, Tate Gallery, London 1985
Original: $6,000.00
-70%$6,000.00
$1,800.00Description
Howard Hodgkin (1932-2017) was a renowned British painter and printmaker and an acclaimed figure of twentieth-century abstraction. Drawing inspiration from everyday life, he rendered sentimental motifs through a unique (and fluctuating) synthesis of abstract and representational styles.
Hodgkin's printmaking methods were ambitious, spontaneous, and experimental. By layering different techniques, he was able to create complex painterly expressions in his multiples. Hodgkin enjoyed creating commissions - this image was made for the Paris Review, a New York cultural journal.
"Books for the Paris Review" is a wonderful example of Hodgkin's unique printmaking methods. One of the techniques used, carborundum, partly embosses the paper when printed, giving the work a relief-like characteristic. Starting with several kinds of etching as a base, each print gets hand-coloured with ultramarine blue, green, and cadmium red. This hand-colouring technique is highly-admired by the artist and integral to his printmaking process. He employs an assistant to do the hand-colouring under close supervision to avoid any temptations at altering repeated imagery.
Swirling, brush-like marks printed in black are overlaid by a frame-like veil of cadmium red. Two bold strokes of green and ultramarine blue lay in its centre, slightly translucent and textured in their application. This red shape emulates Hodgkin's characteristic frame-within-a-picture device, where he would often incorporate a pictorial frame.
Like many of Hodgkin's paintings, his print has a patiently layered, gestural quality. Unlike many of his pieces, the title "Books for the Paris Review" does not allude to aspects of his daily life (such as a meal eaten, a mood experienced, or a moment recalled). Despite this, it is probable that the inspiration for the image originated in a memory, event, or moment that he then imaginatively transformed.
This print is in the permanent collection of the Tate.
In 1985, Hodgkin was the winner of the Turner Prize and was subsequently knighted in 1992. Today, his work can be found in many major public collections, including the Metropolitan Museum of Art (New York), the Art Institute of Chicago, and the Art Gallery of Ontario.
Questions about this piece? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Books for the Paris Review"
1997-99
Initialed "HH" numbered "49/80" and dated "97" by artist in pencil, lower edge
15"H 16.25"W (work)
21.5"H 22.75"W (framed)
Lift-ground etching and aquatint from three copper plates, with carborundum from one aluminum plate, printed in three shades of grey and two shades of black, with hand colouring in ultramarine blue, green, and cadmium red acrylic. On 100% cotton paper from Two Rivers paper mill, Watchet, Somerset (350 gsm), hand made by Jim Patterson.
Proofed by the artist and Jack Shirreff. Printed by Jack Shirreff, assisted by Andrew Smith and Claire Wait at the 107 Workshop, Wiltshire. Hand coloured by Jack Shirreff.
Published by the Paris Review, New York, 1998
Overall good condition. Full report available on request.
Literature:
Heenk 100
Howard Hodgkin: Small Prints, exhibition catalogue, Alan Cristea Gallery, London 2001, reproduced (colour) p.6
Howard Hodgkin: Venetian Views 1995, exhibition catalogue, Alan Cristea Gallery, London 1995
Howard Hodgkin: Prints 1977-1983, exhibition catalogue, Tate Gallery, London 1985
