Masqueraders (2006) by Peter Doig is a striking screenprint that captures the artist’s distinctive blend of dreamlike imagery and painterly abstraction. Known for transforming familiar scenes into meditative spaces, Doig’s work here presents a layered, almost cinematic composition where atmosphere takes precedence over narrative. Executed as a signed and numbered edition of 250, this piece demonstrates Doig’s exceptional control of tone and colour within printmaking, echoing the depth of his painted works. Measuring 63 × 53 cm (unframed), Masqueraders carries the artist’s hallmark interest in memory, myth and the quiet tension between people and landscape.
The print is signed and dated by the artist, though no original receipt or certificate accompanies it. A sought-after edition from a leading figure in contemporary painting, this work reflects Doig’s ongoing influence across both primary and secondary art markets.
| Medium: | Silkscreen |
| Format: | Silkscreen |
| Size (Unframed): | 63 x 53 cm |
| Size (Framed): | 73 x 61 cm |
| Signed: | Yes |
| Limited Edition: | Edition 61 of 250 |
Peter Doig (British, b. 1959, Edinburgh) is one of the most celebrated contemporary painters of his generation. Educated at Wimbledon, Saint Martin’s and Chelsea Schools of Art, Doig’s career rose to prominence in the early 1990s following his solo exhibition at the Whitechapel Art Gallery, London. His evocative imagery draws on personal memory and collective myth, often blending scenes from Canada, Trinidad and Europe into landscapes that oscillate between realism and dream.
Doig’s work is represented in major museum collections worldwide, including Tate Britain, the Museum of Modern Art in New York, and the National Gallery of Canada. His paintings have achieved record prices at auction, with Swamped (1990) selling for over $39 million in 2021, affirming his status among the leading postwar artists.
Now based between London and Trinidad, Doig continues to exhibit internationally, most recently at The Courtauld Gallery and Musée d’Orsay, further cementing his reputation for poetic, psychologically charged imagery.
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