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A Moving Still Life *
1976-1977
Etching, soft-ground etching and aquatint in colors on Inveresk mouldmade paper
Signed by the artist in pencil, and numbered
Edition of 200
18.2 x 20.8 inches (46.2 x 52.8 cm)
SOLD
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Celia (La Bergère)
1981
Original lithograph on Arches Cover paper
Hand-signed, dated, and numbered in pencil
24 x 35 in. (61 x 89 cm), unframed
Edition of 50
INQUIRE
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Celia Observing *
1976
Aquatint, drypoint and etching on Rives BFK paper
Signed in pencil, dated and numbered
35 3/8 x 29 1/2 in. (90 x 75 cm), unframed
Edition of 60
SOLD
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Hotel Acatlan: Second Day *
1984-85
Original lithograph in colors on two sheets of TGL handmade paper
Signed, dated and numbered in pencil
28 7/8 x 75 1/2 in. (73.3 x 191.8 cm), unframed
Edition of 98 + 20 AP
Printed by Tyler Graphics, Bedford, NY
SOLD
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Pool Made with Paper and Blue Ink for Book
1980
(from Paper Pools)
Original lithograph in colors on wove paper
Hand-signed, dated and numbered in pencil
10 ½ x 9 in, (26.7 x 23 cm), unframed
Edition of 1000 + AP
Published by Tyler Graphics, Mount Kisco, NY
INQUIRE
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Two Peppers *
1973
Etching in colors on Wove paper
Signed by the artist in pencil, and dated and numbered
14 7/8 x 15 3/8 inches (37.8 x 51.3 cm)
Edition of 100
SOLD
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Views of Hotel Well III *
1985
(From the Moving Focus series)
Lithograph in colors on TGL handmade paper
Signed by the artist in pencil, dated and numbered
48 ½ x 38 ½ inches (123.2 x 97.8 cm)
Edition of 80 + 18 AP
Published by Tyler Graphics (with their blindstamp)
(T. 282)
SOLD
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Warm Start *
1993
Lithograph and screenprint in colors on Arches 88 paper
Signed, numbered and dated in pencil
21 1/2 x 25 1/2 in. (54.6 x 64.8 cm.)
Edition of 68
Printed by the Museum of Contemporary Art, Tokyo 337
(G. 1601)
SOLD
David Hockney has received great critical acclaim. From the representational nature of his more serious portraits to the depictions of the Californian landscape, his style is always distinctive and versatile.
Born in Bradford, Yorkshire in 1937 to a working class family, Hockney went on to a prize-winning career as a student at the Royal College of Art. It was there he met fellow artists such as R.B. Kitaj, Peter Philips and Patrick Caulfield, who were to become stars of the British Pop Art Scene. By his mid-20s, Hockney had already become one of the most critically acclaimed contemporary artists in Britain. At only 26, he had his first one-man show and in 1967 was awarded first prize in the John Moores Exhibition.
Hockney worked in a variety of fields as a painter, draughtsman, printmaker, photographer and designer. As well as the versatility of his work, he is also known for his exuberant personality, easily recognizable with his trademark circular specs. Although he rejected the label ‘Pop’, much of his work contains references to popular culture and contains a good deal of humor. The Californian swimming pool was one of his favorite subjects, indicating his love-affair with Los Angeles and most memorably featured in the painting ‘A Bigger Splash’ (1967). In the Seventies, Hockney’s style became more traditional with a series of portraits of couples such as ‘Mr and Mrs. Clark and Percy’ (1970-1971) and ‘My Parents’.
Hockney is also a celebrated graphic artist, etching illustrations to Cavafy’s Poems (1967) and Six Fairy Tales of the Brothers Grimm (1969) for example, as well as individual prints often on homoerotic themes. In the 1970s, he became popular as a stage designer for productions such as Stravinsky’s ‘The Rake’s Progress’ (1975) and Mozart’s ‘The Magic Flute’ (1978) both at Glyndebourne. Photography was Hockney’s main preoccupation in the 1980s, with his experimentation of complex, Cubist-like photomontages, but throughout his career painting remained his prime concern.
Picasso was one of Hockney’s role models in his demonstration of creative freedom and original thinking. “Style is something you can use, and you can be like a magpie, just taking what you want. The idea of the rigid style seemed to me then something you needn’t concern yourself with, it would trap you.” David Hockney. In addition to his art, Hockney has also published two books on art, David Hockney on David Hockney (1976) and That’s the Way I See It (1993).
Hockney, David
1976-1977 Etching, soft-ground etching and aquatint in colors on Inveresk mouldmade paper Signed by the artist in pencil, and numbered Edition of 200 18.2 x 20.8 inches (46.2 x 52.8 cm) SOLD
1976 Aquatint, drypoint and etching on Rives BFK paper Signed in pencil, dated and numbered 35 3/8 x 29 1/2 in. (90 x 75 cm), unframed Edition of 60 SOLD
1984-85 Original lithograph in colors on two sheets of TGL handmade paper Signed, dated and numbered in pencil 28 7/8 x 75 1/2 in. (73.3 x 191.8 cm), unframed Edition of 98 + 20 AP Printed by Tyler Graphics, Bedford, NY SOLD
1973 Etching in colors on Wove paper Signed by the artist in pencil, and dated and numbered 14 7/8 x 15 3/8 inches (37.8 x 51.3 cm) Edition of 100 SOLD
1985 (From the Moving Focus series) Lithograph in colors on TGL handmade paper Signed by the artist in pencil, dated and numbered 48 ½ x 38 ½ inches (123.2 x 97.8 cm) Edition of 80 + 18 AP Published by Tyler Graphics (with their blindstamp) (T. 282) SOLD
1993 Lithograph and screenprint in colors on Arches 88 paper Signed, numbered and dated in pencil 21 1/2 x 25 1/2 in. (54.6 x 64.8 cm.) Edition of 68 Printed by the Museum of Contemporary Art, Tokyo 337 (G. 1601) SOLD
Born in Bradford, Yorkshire in 1937 to a working class family, Hockney went on to a prize-winning career as a student at the Royal College of Art. It was there he met fellow artists such as R.B. Kitaj, Peter Philips and Patrick Caulfield, who were to become stars of the British Pop Art Scene. By his mid-20s, Hockney had already become one of the most critically acclaimed contemporary artists in Britain. At only 26, he had his first one-man show and in 1967 was awarded first prize in the John Moores Exhibition.
Hockney worked in a variety of fields as a painter, draughtsman, printmaker, photographer and designer. As well as the versatility of his work, he is also known for his exuberant personality, easily recognizable with his trademark circular specs. Although he rejected the label ‘Pop’, much of his work contains references to popular culture and contains a good deal of humor. The Californian swimming pool was one of his favorite subjects, indicating his love-affair with Los Angeles and most memorably featured in the painting ‘A Bigger Splash’ (1967). In the Seventies, Hockney’s style became more traditional with a series of portraits of couples such as ‘Mr and Mrs. Clark and Percy’ (1970-1971) and ‘My Parents’.
Hockney is also a celebrated graphic artist, etching illustrations to Cavafy’s Poems (1967) and Six Fairy Tales of the Brothers Grimm (1969) for example, as well as individual prints often on homoerotic themes. In the 1970s, he became popular as a stage designer for productions such as Stravinsky’s ‘The Rake’s Progress’ (1975) and Mozart’s ‘The Magic Flute’ (1978) both at Glyndebourne. Photography was Hockney’s main preoccupation in the 1980s, with his experimentation of complex, Cubist-like photomontages, but throughout his career painting remained his prime concern.
Picasso was one of Hockney’s role models in his demonstration of creative freedom and original thinking. “Style is something you can use, and you can be like a magpie, just taking what you want. The idea of the rigid style seemed to me then something you needn’t concern yourself with, it would trap you.” David Hockney. In addition to his art, Hockney has also published two books on art, David Hockney on David Hockney (1976) and That’s the Way I See It (1993).