JARIDS PORCH
signed and dated Hodgkin 77 in pencil lower right; numbered 82/100 in pencil lower left
lithograph with hand-colouring in gouache on Lexington handmade wove paper, published by Petersburg Press, New York/London, printed by Petersburg Studios, New York, the full sheet

52 x 61.5cm; 20 1/2 x 24 1/4in
65.5 x 74.5cm; 25 3/4 x 29 1/4in (framed)

Literature
Pat Gilmour, 'Howard Hodgkin', The Print Collector's Newsletter, March-April 1981, vol. 12, p. 3, no. 1
Judith Dunham, 'Howard Hodgkin's Accumulated Memories', PrintNews, Winter 1986, vol. 8, p. 6, no. 1
Liesbeth Heenk, Howard Hodgkin Prints: A Catalogue Raisonné, London, 2003, p. 62 & p. 173, no. 34, illustrated

Howard Hodgkin was deeply attuned to the interplay of gesture and colour. Embracing time as a compositional element, his work is testament to his immersion in the intangibility of thoughts, feelings, and fleeting private moments. While many of his contemporaries were drawn to Pop or the School of London, he remained independent, initially marking his outsider status with a series of portraits of contemporary artists and their families. His first solo exhibition was at Arthur Tooth & Sons in London in 1962. In 1984 Hodgkin represented Britain at the Venice Biennale, and his exhibition Forty Paintings opened at the Whitechapel Gallery in 1985, the year he was awarded the Turner Prize.