▲ Sir Howard Hodgkin CH (British, 1932-2017) 'Bleeding', 1981-1982

lithograph in colours from three aluminium plates using tusche washes, with hand colouring in gouache, on buff Velin Arches 300 gsm mould-made paper, signed with initials, dated '81', inscribed and numbered 'A.P. 27' in pencil l.c., one of 33 artist's proofs aside from the main edition of 100, published by Bernard Jacobson Ltd, London, published by Bernard Jacobson Ltd, London, sheet 91.5 x 152cm; unframed, Gifted to the family of Derek Pope by a Trustee of the Howard Hodgkin Legacy Trust; Property from the Collection of Derek Pope. The present work, as well as 'Beach' (2015-16, lot 13), was gifted to the family of Derek Pope by a Trustee of the Howard Hodgkin Legacy Trust. The gift is a celebration of their generosity in allowing the Hodgkin Estate to acquire Derek Pope’s copy of 'Acquainted with the Night', so that it can be given to a major UK museum, along with a nearly complete set of Howard’s prints. 'Acquainted with the Night' was Howard’s first print, made at Corsham School of Art, where he studied and later taught. It is signed and dated 1953, when Howard was 21. It was made at the initiative of the school’s first director, Clifford Ellis, and was inspired by Robert Frost's poem of the same name. Howard did not keep a copy. None could be found to illustrate the entry in the first edition of the catalogue raisonné of his prints (2003). Thanks to the heirs of Derek Pope, a later principal of the Corsham school, it has surfaced in time to be included in the second edition, edited by Guy Robertson and due to be issued by Art Publishing next year. There were 118 entries in the first edition; there will be 282 in the new one, indicating how central the medium became to Howard’s work. 'Bleeding' was the first print Howard made with Judith Solodkin’s Solo Press in New York, hand-coloured by Cinda Sparling. It was inspired by the memory of an encounter in a mid-town Manhattan apartment belonging to his then lover, who was also his favourite dealer in Indian art. Howard reserved the complex interplay of complementary green and red colours for several of his best and most intense works, such as 'Love and Death' (2015), used as the backcloth to Mark Morris’s dance story 'Leila and Majnun' and in the penultimate oil painting, 'Over to You' (2017). The title 'Bleeding' is a pun on the technique the artist favoured of allowing paint to escape from a mark. A panel on the right of the print references a Mughal Indian patterned textile. In the introduction to the Barbican catalogue for the touring exhibition of his prints, Mark Haworth-Booth wrote [of another print, 'Moonlight']: 'Fiery colours glint beneath darker overlays, like a psychological encounter we can sense and share but never fully grasp nor explain. Like Mallarmé, Hodgkin set himself an almost impossible task: ‘Peindre non la chose, mais l’effet qu’elle produit’ (Paint not the thing but the effect that it produces).', 'Fiery colours glint beneath darker overlays, like a psychological encounter we can sense and share but never fully grasp nor explain. Like Mallarmé, Hodgkin set himself an almost impossible task: ‘Peindre non la chose, mais l’effet qu’elle produit’ (Paint not the thing but the effect that it produces).', Condition Report, Condition Report, A little time staining to the exposed (unprinted) areas of paper at the sheet edges. Presents very well overall. The colours are strong. If a more detailed report or additional images are required please contact the department. Request A Condition Report, Request A Condition Report

Estimación:€2,400.55

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