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Click here to subscribeδ David Hockney (b.1937)Swimming Pool for the 1984 Olympics (Baggot 131)Offset lithograph printed in colours, 1982, published by Knapp Communications Inc., for the Los Angeles Olympics 1984, on smooth wove paper, with full margins, sheet 914 x 610mm (36 x 24in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Olympische Spiele München, 1972 (Baggott 34)Lithograph printed in colours, 1972, printed by Matthieu, Zurich, published by Edition Olympia 1972 GmbH, Munich, on thin wove paper, the full sheet printed to the edges, sheet 1010 x 640mm (39 7/8 x 25 1/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Remember That You Cannot Look At the Sun or Death for Very LongLithograph printed in colours with screenprint in yellow, 2021, numbered from the edition of 3000 on an adhesive label verso, printed and published by Circa, London, with the accompanying Certificate of Authenticity, on smooth wove paper, with full margins, sheet 894 x 254mm (35 1/4 x 10in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
David Hockney, a signed (in silver ink) 8X6 promotional card. The card was produced in 2017 for the dual celebration of Hockney's 80th birthday and the 30th anniversary of the opening of Salts Mill. An art gallery, shopping centre and restaurant complex based in Saltaire, Bradford, it houses one of the largest collections of Hockney's work. Further information and calendar of events to back of card. A British artist considered to be one of the most influential of the 20th century. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Louisiana Museum for Moderne Kunst [publisher] - 'David Hockney, Beverly Hills Housewife' (Poster for the Exhibition), offset lithograph, printed circa 2001, sheet size 49cm x 79cm, within a silvered frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
David Hockney OM CH RA (British b.1937) 'A Lawn Being Sprinkled' print, 1967, Reproduction work digitally printed on 250 gsm matt card. Artist-authorised reproduction print of David Hockney’s A Lawn Being Sprinkled 1967 with description written along the bottom of the work. Image measures 26 by 18cm. Full sheet measures 36 by 28cm. Unframed This David Hockney reproduction print has never been framed or displayed and comes flat in good condition in a clear wallet. Only been opened to be checked. No signs of damage or marks on the image itself or on the edges. No crease marks, tears or stains. ARR charges may be applicable
Original vintage advertising poster for David Hockney's (b.1937) artwork exhibition organised by the Ministry of Culture of the Czech Socialist Republic and the British Council of the Czech Republic Union of Fine Artists, the poster features an illustration of a man tearing himself apart set over a mustard yellow background. Good condition, creasing, small tears. Country of issue: Czechoslovakia, designer: David Hockney, size (cm): 87x60, year of printing: 1980.
David Hockney, a signed (in green and blue ink) 1992 European Market FDC with insert. The stamp was designed by Hockney. A British artist considered to be one of the most influential of the 20th century. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
David Hockney signed with his two dogs Stanley and Boodgie black and white Photo. 7 x 5 Inch. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Cecilia Charlton Woven Mosaic (Portal 2), 2023 Pencil, coloured pencil and cotton thread on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About London-based American artist Cecilia Charlton received a BFA Painting in 2015 from Hunter College in NYC, and an MA Painting from the Royal College of Art, London in 2018. She creates hand-made embroideries and weavings that engage with the formal histories of abstraction to explore a broad range of themes including the cosmos, memory, and current events. Through manipulations of geometric pattern and colour her artworks achieve an optically challenging and playful approach, questioning the hierarchy between painting and textiles. Themes of feminism, human history, time and transcendence are inherently part of the hand-sewn work, and her investigation into the history of textiles from creative, cultural, and socio-economic perspectives underpins Charlton's studio practice. Spanning the mediums of textiles, installation, and art in the social sphere, the work results in conversation tending towards both the personal and the universal. Education MA Painting, RCA (2018); BFA Painting, Hunter College (2015) Select Exhibitions/Awards Selected Exhibitions 2023 Altered Sites: On Psychedelic Architecture, West Dean College, West Dean UK Memory Garden, Garden Museum, London UK (solo) COLLECT Art Fair, Candida Stevens Gallery, Somerset House, London UK Syzygy, Candida Stevens Gallery, Chichester UK (solo) 2022 Jerwood Art Fund Makers Open, Jerwood Arts (London), Newlyn Art Gallery (Newlyn, Cornwall), Aberdeen Art Gallery (Aberdeen, Scotland) COLLECT Art Fair, Candida Stevens Gallery, London 2021 Mammoth Loop, SPACE Ilford, London, sponsored by Mercers Charitable Foundation (solo) Love Token, Robert Young Antiques, London (solo) Folk Art, London Art Fair, Platform, Candida Stevens Gallery, London 2020 Aurora, Candida Stevens Gallery, Chichester UK (solo) Hanging by a thread, freethegallery, London When you make sense I feel, Fitzrovia Gallery, London 2019 In Praise of Shadows, curated by Ione & Mann, London Parade, Broadway Gallery, curated by Kris Day, Letchworth Garden City UK Domestic Hospitality, Zetter Hotel, London RA Summer Exhibition, Royal Academy of the Arts, London Tender Touches, AMP Gallery, London Grid :: Preset, Blyth Gallery, London 2018 FAKERS, curated by Cypher Collective, Thamesside Gallery, London Lifeline as Medium, 532 Gallery, NYC STUDIO.US is an Experiment: Mix.B, Dyson Gallery, Royal College of Art, London From This Time - Unchained, curated by Ione & Mann, London Rogue Objects, Bloomsbury Festival, University College London, London Girls Just Want to Have Fun, Unit 3 Projects, London COUPLES, The Hand, Brooklyn NY SURGE: the East Wing Biennial, Courtauld Institute, London RCA Degree Show, Royal College of Art, London Rubber-chew // Clink, adieu, Unit 1 Gallery, London An Audience of Echoes, Hockney Gallery, Royal College of Art, London Plants People Pots [an invitation], Pinch Project Space, London Selected Honours 2022 Brookfield Properties Craft Prize, short-listed 2021 Jerwood Arts, Jerwood Makers Open Award 2020 Vlieseline Fine Art Textiles Award, short-listed 2016 Fulbright UK Open Award, short-listed Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Lately, I have been thinking of my artworks as portals. Not only for the viewer but also for myself to fall into during the process of making. Using artwork to access a transcendental space; utilizing colours, materials, and process to experience the sublime. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chris Stevens Young Blood, 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Chris Stevens studied Fine Art at the University of Reading. He is a figurative painter who has exhibited regularly since graduating in 1978. His studio is in the South of France where he spends most of his time. His solo exhibitions include the PM Gallery, London, Smelik & Stokking and Galerie Rademakers in Amsterdam, the GlynnVivian Museum & Art Gallery, Swansea and the Howard Gardens Gallery, Cardiff. Group shows include REALITY, with artists such as Lucien Freud, David Hockney and Walter Sickert, Fussball in Der Kunst, with Andy Warhol and Marcus Lupertz in Germany, the BP Portrait Award at the National Gallery London, and Heads at Flowers East, London. He has been a prize winner in the BP Portrait Award, 50 over 50 and more recently in the Painted Faces exhibition organised by the Saatchi Gallery. He has also undertaken Arts Council residencies at Sunderland Football Club and Birmingham International Airport. He has work in public and private collections including the Victoria & Albert Museum, The National Gallery of Wales, Unilever, Galerija Portreta, Bosnia & Hertzegovena and many private collections in UK, South Africa, USA and Europe. Education University of Reading, Fine Art Select Exhibitions/Awards 2022. Art Contemporain, EXPO Internationale Maison Gramont, Fanjeaux, France Amplitudes, Maison de la Chartité, Caunes Minervois, France Affinities, L'Ecurie, Caunes Minervois, France La Table Des Vignirons, Trausse Minervois, France 2021. Painting of the year, EuropArtFair, Westergas, Amsterdam Major Figures, Saatchi Art. 2020 du 9 à Caunes, Caveaux de l'Abbaye, Caunes Minervois, France You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Cecilia Charlton Portal 1, 2023 Pencil, coloured pencil and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About London-based American artist Cecilia Charlton received a BFA Painting in 2015 from Hunter College in NYC, and an MA Painting from the Royal College of Art, London in 2018. She creates hand-made embroideries and weavings that engage with the formal histories of abstraction to explore a broad range of themes including the cosmos, memory, and current events. Through manipulations of geometric pattern and colour her artworks achieve an optically challenging and playful approach, questioning the hierarchy between painting and textiles. Themes of feminism, human history, time and transcendence are inherently part of the hand-sewn work, and her investigation into the history of textiles from creative, cultural, and socio-economic perspectives underpins Charlton's studio practice. Spanning the mediums of textiles, installation, and art in the social sphere, the work results in conversation tending towards both the personal and the universal. Education MA Painting, RCA (2018); BFA Painting, Hunter College (2015) Select Exhibitions/Awards Selected Exhibitions 2023 Altered Sites: On Psychedelic Architecture, West Dean College, West Dean UK Memory Garden, Garden Museum, London UK (solo) COLLECT Art Fair, Candida Stevens Gallery, Somerset House, London UK Syzygy, Candida Stevens Gallery, Chichester UK (solo) 2022 Jerwood Art Fund Makers Open, Jerwood Arts (London), Newlyn Art Gallery (Newlyn, Cornwall), Aberdeen Art Gallery (Aberdeen, Scotland) COLLECT Art Fair, Candida Stevens Gallery, London 2021 Mammoth Loop, SPACE Ilford, London, sponsored by Mercers Charitable Foundation (solo) Love Token, Robert Young Antiques, London (solo) Folk Art, London Art Fair, Platform, Candida Stevens Gallery, London 2020 Aurora, Candida Stevens Gallery, Chichester UK (solo) Hanging by a thread, freethegallery, London When you make sense I feel, Fitzrovia Gallery, London 2019 In Praise of Shadows, curated by Ione & Mann, London Parade, Broadway Gallery, curated by Kris Day, Letchworth Garden City UK Domestic Hospitality, Zetter Hotel, London RA Summer Exhibition, Royal Academy of the Arts, London Tender Touches, AMP Gallery, London Grid :: Preset, Blyth Gallery, London 2018 FAKERS, curated by Cypher Collective, Thamesside Gallery, London Lifeline as Medium, 532 Gallery, NYC STUDIO.US is an Experiment: Mix.B, Dyson Gallery, Royal College of Art, London From This Time - Unchained, curated by Ione & Mann, London Rogue Objects, Bloomsbury Festival, University College London, London Girls Just Want to Have Fun, Unit 3 Projects, London COUPLES, The Hand, Brooklyn NY SURGE: the East Wing Biennial, Courtauld Institute, London RCA Degree Show, Royal College of Art, London Rubber-chew // Clink, adieu, Unit 1 Gallery, London An Audience of Echoes, Hockney Gallery, Royal College of Art, London Plants People Pots [an invitation], Pinch Project Space, London Selected Honours 2022 Brookfield Properties Craft Prize, short-listed 2021 Jerwood Arts, Jerwood Makers Open Award 2020 Vlieseline Fine Art Textiles Award, short-listed 2016 Fulbright UK Open Award, short-listed Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Lately, I have been thinking of my artworks as portals. Not only for the viewer but also for myself to fall into during the process of making. Using artwork to access a transcendental space; utilizing colours, materials, and process to experience the sublime. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Cecilia Charlton Woven Portal (Portal 1), 2023 Pencil, coloured pencil and cotton thread on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About London-based American artist Cecilia Charlton received a BFA Painting in 2015 from Hunter College in NYC, and an MA Painting from the Royal College of Art, London in 2018. She creates hand-made embroideries and weavings that engage with the formal histories of abstraction to explore a broad range of themes including the cosmos, memory, and current events. Through manipulations of geometric pattern and colour her artworks achieve an optically challenging and playful approach, questioning the hierarchy between painting and textiles. Themes of feminism, human history, time and transcendence are inherently part of the hand-sewn work, and her investigation into the history of textiles from creative, cultural, and socio-economic perspectives underpins Charlton's studio practice. Spanning the mediums of textiles, installation, and art in the social sphere, the work results in conversation tending towards both the personal and the universal. Education MA Painting, RCA (2018); BFA Painting, Hunter College (2015) Select Exhibitions/Awards Selected Exhibitions 2023 Altered Sites: On Psychedelic Architecture, West Dean College, West Dean UK Memory Garden, Garden Museum, London UK (solo) COLLECT Art Fair, Candida Stevens Gallery, Somerset House, London UK Syzygy, Candida Stevens Gallery, Chichester UK (solo) 2022 Jerwood Art Fund Makers Open, Jerwood Arts (London), Newlyn Art Gallery (Newlyn, Cornwall), Aberdeen Art Gallery (Aberdeen, Scotland) COLLECT Art Fair, Candida Stevens Gallery, London 2021 Mammoth Loop, SPACE Ilford, London, sponsored by Mercers Charitable Foundation (solo) Love Token, Robert Young Antiques, London (solo) Folk Art, London Art Fair, Platform, Candida Stevens Gallery, London 2020 Aurora, Candida Stevens Gallery, Chichester UK (solo) Hanging by a thread, freethegallery, London When you make sense I feel, Fitzrovia Gallery, London 2019 In Praise of Shadows, curated by Ione & Mann, London Parade, Broadway Gallery, curated by Kris Day, Letchworth Garden City UK Domestic Hospitality, Zetter Hotel, London RA Summer Exhibition, Royal Academy of the Arts, London Tender Touches, AMP Gallery, London Grid :: Preset, Blyth Gallery, London 2018 FAKERS, curated by Cypher Collective, Thamesside Gallery, London Lifeline as Medium, 532 Gallery, NYC STUDIO.US is an Experiment: Mix.B, Dyson Gallery, Royal College of Art, London From This Time - Unchained, curated by Ione & Mann, London Rogue Objects, Bloomsbury Festival, University College London, London Girls Just Want to Have Fun, Unit 3 Projects, London COUPLES, The Hand, Brooklyn NY SURGE: the East Wing Biennial, Courtauld Institute, London RCA Degree Show, Royal College of Art, London Rubber-chew // Clink, adieu, Unit 1 Gallery, London An Audience of Echoes, Hockney Gallery, Royal College of Art, London Plants People Pots [an invitation], Pinch Project Space, London Selected Honours 2022 Brookfield Properties Craft Prize, short-listed 2021 Jerwood Arts, Jerwood Makers Open Award 2020 Vlieseline Fine Art Textiles Award, short-listed 2016 Fulbright UK Open Award, short-listed Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Lately, I have been thinking of my artworks as portals. Not only for the viewer but also for myself to fall into during the process of making. Using artwork to access a transcendental space; utilizing colours, materials, and process to experience the sublime. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Chris Stevens Adams, 2023 Oil on linen Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Chris Stevens studied Fine Art at the University of Reading. He is a figurative painter who has exhibited regularly since graduating in 1978. His studio is in the South of France where he spends most of his time. His solo exhibitions include the PM Gallery, London, Smelik & Stokking and Galerie Rademakers in Amsterdam, the GlynnVivian Museum & Art Gallery, Swansea and the Howard Gardens Gallery, Cardiff. Group shows include REALITY, with artists such as Lucien Freud, David Hockney and Walter Sickert, Fussball in Der Kunst, with Andy Warhol and Marcus Lupertz in Germany, the BP Portrait Award at the National Gallery London, and Heads at Flowers East, London. He has been a prize winner in the BP Portrait Award, 50 over 50 and more recently in the Painted Faces exhibition organised by the Saatchi Gallery. He has also undertaken Arts Council residencies at Sunderland Football Club and Birmingham International Airport. He has work in public and private collections including the Victoria & Albert Museum, The National Gallery of Wales, Unilever, Galerija Portreta, Bosnia & Hertzegovena and many private collections in UK, South Africa, USA and Europe. Education University of Reading, Fine Art Select Exhibitions/Awards 2022. Art Contemporain, EXPO Internationale Maison Gramont, Fanjeaux, France Amplitudes, Maison de la Chartité, Caunes Minervois, France Affinities, L'Ecurie, Caunes Minervois, France La Table Des Vignirons, Trausse Minervois, France 2021. Painting of the year, EuropArtFair, Westergas, Amsterdam Major Figures, Saatchi Art. 2020 du 9 à Caunes, Caveaux de l'Abbaye, Caunes Minervois, France You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Cecilia Charlton Portal 2, 2023 Pencil, coloured pencil and pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About London-based American artist Cecilia Charlton received a BFA Painting in 2015 from Hunter College in NYC, and an MA Painting from the Royal College of Art, London in 2018. She creates hand-made embroideries and weavings that engage with the formal histories of abstraction to explore a broad range of themes including the cosmos, memory, and current events. Through manipulations of geometric pattern and colour her artworks achieve an optically challenging and playful approach, questioning the hierarchy between painting and textiles. Themes of feminism, human history, time and transcendence are inherently part of the hand-sewn work, and her investigation into the history of textiles from creative, cultural, and socio-economic perspectives underpins Charlton's studio practice. Spanning the mediums of textiles, installation, and art in the social sphere, the work results in conversation tending towards both the personal and the universal. Education MA Painting, RCA (2018); BFA Painting, Hunter College (2015) Select Exhibitions/Awards Selected Exhibitions 2023 Altered Sites: On Psychedelic Architecture, West Dean College, West Dean UK Memory Garden, Garden Museum, London UK (solo) COLLECT Art Fair, Candida Stevens Gallery, Somerset House, London UK Syzygy, Candida Stevens Gallery, Chichester UK (solo) 2022 Jerwood Art Fund Makers Open, Jerwood Arts (London), Newlyn Art Gallery (Newlyn, Cornwall), Aberdeen Art Gallery (Aberdeen, Scotland) COLLECT Art Fair, Candida Stevens Gallery, London 2021 Mammoth Loop, SPACE Ilford, London, sponsored by Mercers Charitable Foundation (solo) Love Token, Robert Young Antiques, London (solo) Folk Art, London Art Fair, Platform, Candida Stevens Gallery, London 2020 Aurora, Candida Stevens Gallery, Chichester UK (solo) Hanging by a thread, freethegallery, London When you make sense I feel, Fitzrovia Gallery, London 2019 In Praise of Shadows, curated by Ione & Mann, London Parade, Broadway Gallery, curated by Kris Day, Letchworth Garden City UK Domestic Hospitality, Zetter Hotel, London RA Summer Exhibition, Royal Academy of the Arts, London Tender Touches, AMP Gallery, London Grid :: Preset, Blyth Gallery, London 2018 FAKERS, curated by Cypher Collective, Thamesside Gallery, London Lifeline as Medium, 532 Gallery, NYC STUDIO.US is an Experiment: Mix.B, Dyson Gallery, Royal College of Art, London From This Time - Unchained, curated by Ione & Mann, London Rogue Objects, Bloomsbury Festival, University College London, London Girls Just Want to Have Fun, Unit 3 Projects, London COUPLES, The Hand, Brooklyn NY SURGE: the East Wing Biennial, Courtauld Institute, London RCA Degree Show, Royal College of Art, London Rubber-chew // Clink, adieu, Unit 1 Gallery, London An Audience of Echoes, Hockney Gallery, Royal College of Art, London Plants People Pots [an invitation], Pinch Project Space, London Selected Honours 2022 Brookfield Properties Craft Prize, short-listed 2021 Jerwood Arts, Jerwood Makers Open Award 2020 Vlieseline Fine Art Textiles Award, short-listed 2016 Fulbright UK Open Award, short-listed Gallery Representation Candida Stevens Gallery Statement about AOAP Submitted Artwork Lately, I have been thinking of my artworks as portals. Not only for the viewer but also for myself to fall into during the process of making. Using artwork to access a transcendental space; utilizing colours, materials, and process to experience the sublime. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
DAVID HOCKNEY (B. 1937)Study for the First Marriage (A Marriage of Styles I) 1962 signed, dated '62 and inscribed Berlin; numbered 6723 on the reverseink, pencil and coloured pencil on paper34 by 49 cm.13 3/8 by 19 5/16 in.Footnotes:ProvenanceGift from the artist to the present ownerThe present drawing from 1962, is a preparatory drawing for one of David Hockney's celebrated canvases from the same year, The First Marriage (A Marriage of Styles I) that today resides in the Tate Britain in London. Here, Hockney focuses on his female sitter featured in the final painting, who has been portrayed in the manner of an ancient Egyptian identified by her headdress and the pointed cups covering her breasts. Hockney roughly sketches the outline of the palm tree behind her keeping to a primitive representation and also includes the grey gothic arch shape seen to the lower left in the final canvas. His male figure has not been drafted in the present study, but in the canvas, he represents him in modern dress standing in profile behind the woman. As in several of Hockney's paintings made in the 1960s, much of the finished canvas has been left in its natural state with little detail or imagery in the background. 1962 marked an integral year for Hockney, it was the year that he graduated from the Royal College of Art in London and The First Marriage (A Marriage of Styles I) was painted in September after a trip to Germany. On a visit to the Pergamon Museum in Berlin, Hockney saw his friend standing in profile at the end of a corridor, next to an ancient Egyptian seated wooden figure. He explained: 'from the distance they looked like a couple, posing as it were for a wedding photograph' (the artist in a letter to the Tate Gallery: 'The First Marriage (A Marriage of Styles I)', tate.org.uk, 9 June 2023). He was interested in the idea of a marriage between these two people, ancient and modern, real and unreal and the accompanying idea of a 'marriage of styles', which he chooses in the title of both drawing and canvas. The raw draughtsmanship of Hockney's drawing is unboundedly apparent, revealing his mastery as an artist and his ability to work across an array of media. During his formative years at Bradford School of Art in the early 1950s he received traditional training which was based on drawing from life, producing figurative studies, portraits and cityscapes in graphite and coloured pencil. Indeed, his early graphic works can be said to have laid the foundations for his highly celebrated artistic oeuvre.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
DAVID HOCKNEY (B. 1937)Swimming Pool circa 1978 signed and dedicated for Peterink on paper22.9 by 16.7 cm. 9 by 6 9/16 in. This work was executed circa 1978. Footnotes:ProvenanceGift from the artist to the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
DAVID HOCKNEY (B. 1937)Study circa 1962-1965 signed coloured pencil, pencil and gouache on paper28.8 by 22.7 cm.11 5/16 by 8 15/16 in.This work was executed circa 1962-1965.Footnotes:ProvenanceGift from the artist to the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
DAVID HOCKNEY (B. 1937)Study circa 1962-1965 signedcoloured pencil, pencil, ink and gouache on paper28 by 21.3 cm. 11 by 8 3/8 in.This work was executed circa 1962-1965.Footnotes:ProvenanceGift from the artist to the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Gretchen and the Snurl (M.C.A. Tokyo 9) Five etchings with aquatint, 1961, printed on one sheet of Crisbrook handmade paper, signed, dated, titled and numbered 12/50 in pencil, published by Editions Alecto, with their blindstamp, the full sheet, framedOverall image 118 x 530mm (4 5/8 x 20 7/8in)Sheet 285 x 792mm (11 1/4 x 31 1/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Illustrations for Fourteen Poems by C. P. Cavafy (Edition B) (M.C.A. Tokyo 47-55) The complete set of 12 etchings with aquatint, 1966-67, on Crisbrook handmade paper, with title page, text, table of contents and justification, signed and numbered 328/500 in pencil on the justification, published by Editions Alecto, London, 1967, the full sheets, bound (as issued), within the original lilac cloth-covered boards and black slipcaseSheets 465 x 333mm (18 1/4 x 13 1/8in)Portfolio 485 x 340 x 30mm (19 1/8 x 13 3/8 x 1 1/4in)Footnotes:ProvenanceThe collection of the late Peter Farley (1954-2022).This lot is subject to the following lot symbols: • AR• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Myself and my Heroes (M.C.A. Tokyo 4) Etching and aquatint, 1961, on handmade wove paper, signed and dated in pencil, from the edition of approximately 50 impressions, printed by Ron Fuller and Peter Mathews at the Royal College of Art, London, published by the artist, the full sheet, framedPlate 260 x 500mm (10 1/4 x 19 11/16in)Sheet 487 x 710mm (19 1/8 x 27 7/8in)Footnotes:ProvenanceThe collection of the late Peter Farley (1954-2022).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Tree (Scottish Arts Council 61; M.C.A. Tokyo 61) Lithograph in colours, 1968, on mould-made BFK Rives, signed, dated and inscribed 'Artists proof' in pencil, one of 22 artist proofs aside from the edition of 95, printed by Atelier Desjorbet, Paris, published by Petersburg Press, London, the full sheet, framedSheet 650 x 500mm (25 1/2 x 19 3/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Water Pouring into Swimming Pool, Santa Monica (M.C.A. Tokyo 38) Lithograph in colours, 1964, on handmade japan paper, signed, dated and inscribed 'Artists proof' in pencil, one of 16 artist's proofs aside from edition of 75, printed by Atelier Matthieu, Zurich, published by Editions Alecto, London, 1965, the full sheet, framedSheet 512 x 659mm (20 1/8 x 25 7/8in)Footnotes:ProvenanceThe collection of the late Peter Farley (1954-2022).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney (British, born 1937)Rue de Seine (M.C.A. Tokyo 111; Scottish Art Council 121) Etching and aquatint, 1972, on J Green mould-made paper, signed, dated and numbered 20/150 in pencil, printed by Print Shop, Amsterdam, published by Petersburg Press, London, the full sheet, framedPlate 535 x 435mm (21 1/8 x 17 1/8in)Sheet 890 x 704mm (35 x 27 3/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)An Erotic Etching (Scottish Arts Council 172) Etching, 1975, on wove paper, signed and inscribed 'proof' in pencil, a proof aside from the edition of 100 (there were also 15 artist's proofs and 26 lettered impressions), printed by Michael Rand, published by Secker and Warburg, London, with the copyright blindstamp, the full sheet, with a deckle edge at left, framedPlate 150 x 112mm (5 7/8 x 4 3/8in)Sheet 214 x 160mm (8 3/8 x 6 1/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Wayne Sleep (Scottish Art Council 112) Etching, 1969, on Crisbrook handmade paper, signed, dated and numbered 1/30 in pencil (there were also ten proofs), printed by Maurice Payne, London, the full sheet, framedPlate 245 x 245mm (9 5/8 x 9 5/8in) Sheet 376 x 360mm (14 1/2 x 14 1/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Illustrations for Fourteen Poems by C. P. Cavafy (Edition A) (M.C.A. Tokyo 47-55) The complete set of 13 etchings with aquatint, 1966-67, on Crisbrook handmade paper, with title page, text, table of contents and justification, signed and numbered 166/500 in pencil on the justification, bound as issued, including 'Portrait of Cavafy II' (only issued with the first 250 sets), signed and dated in pencil, loose (as issued), published by Editions Alecto, London, 1967, the full sheets, within the original lilac cloth-covered boards and black slipcaseSheets 460 x 326mm (18 1/8 x 12 3/4in)Portfolio 485 x 340 x 30mm (19 1/8 x 13 3/8 x 1 1/4in) This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney (British, born 1937)Coloured Flowers made of Paper and Ink (M.C.A. Tokyo 113; Scottish Arts Council 119) Lithograph in colours, 1971, on Hodgkinson paper, signed, titled, dated and inscribed 'AP' in pencil, an artist's proof aside from the edition of 50, published by Petersburg Press, London, the full sheet, framedSheet 992 x 952mm (39 x 37 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney (British, born 1937)Celia (M.C.A. Tokyo 137) Lithograph, 1973, on Angoumois à la main handmade paper, signed, titled, dated and numbered 16/52 in green pencil, published by Gemini G.E.L., Los Angeles, with their blindstamp, the full sheet, framedSheet 1079 x 724mm (42 1/2 x 28 1/2in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Sidney in his office (Gemini G.E.L. 770; Scottish Art Council 190) Lithograph, 1976, on BFK Rives wove paper, signed and numbered 52/60 in white crayon (there were also 11 artist's proofs), published by Gemini GEL, Los Angeles, with their blindstamps and inkstamp verso, the full sheetSheet 610 x 527mm (24 x 20 3/4in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Chair, 38 The Colony, Malibu (M.C.A. Tokyo 134) Lithograph, 1973, on Amgoumois handmade paper, signed, titled, dated and numbered 42/60 in red crayon, published by Gemini G.E.L., Los Angeles, with their blindstamp and the copyright blindstamp, the full sheet, framedSheet 585 x 483mm (23 x 19in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Pool Made with Paper and Blue Ink for Book (M.C.A. Tokyo 234) Lithograph in colours, 1980, on Arches wove paper, signed, dated and numbered 210/1000 in pencil, published by Tyler Graphics Ltd., Mount Kisco, New York, with their blindstamp, the full sheet, framedSheet 266 x 229mm (10 1/2 x 9in)Footnotes:ProvenanceThe collection of the late Peter Farley (1954-2022).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)Untitled No.346, from A Bigger Book: Art edition B IPad drawing in colours, 2010/2016, printed on archival paper, signed, dated and numbered 205/250 in pencil, co-published by the artist and Taschen, Berlin, with their blindstamp, the full sheet, with the original blue fabric-covered portfolio and paper wrappers; together with the publication A Bigger Book, copy numbered 0445 of 1000, and the accompanying Marc Newsom standSheet 560 x 430mm (22 x 17in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Hockney R.A. (British, born 1937)The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 23 April 2011 Ipad drawing in colours, 2011, on wove paper, signed, dated and numbered 14/25 in pencil, the full sheet, framed Image 1270 x 955mm (50 x 37 5/8in)Frame 1465 x 1121mm (57 5/8 x 44 1/8in)Footnotes:ProvenanceAnnely Juda Fine Art, London (with their label).Acquired directly from the above by the current owner.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
HOCKNEY, DAVID (geb. 1937 in Bradford, Großbritannien), Lithographie nach dem Gemälde von 1963: "Große Pyramide von Gizeh mit zerbrochenem Kopf aus Theben". Farblithographie auf Bütten mit Blindstempel "S.P.A.D.E.M Paris", unten rechts mit Drucksignatur "David Hockney" und unten links mit Bleistift limitiert 12/200; revers mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet. Druck 27,7 x 27,3 cm, Blattgröße 50 x 35 cm. Prachtvoller Druck. Dabei "Certificato di Autenticita".
HOCKNEY, DAVID (geb. 1937 in Bradford, Großbritannien), Lithographie nach dem Gemälde: "Stufen mit Schatten / Steps with Shadows". Farblithographie auf Bütten mit Blindstempel "S.P.A.D.E.M Paris", unten rechts mit Drucksignatur "David Hockney" und unten links mit Bleistift limitiert 135/200; revers mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet. Druck 27,5 x 27,4 cm, Blattgröße 50 x 35 cm. Prachtvoller Druck. Dabei "Certificato di Autenticita".
HOCKNEY, DAVID (geb. 1937 in Bradford, Großbritannien), Lithographie: "Stillleben". Farblithographie auf Bütten mit Blindstempel "S.P.A.D.E.M Paris", unten rechts mit Drucksignatur "David Hockney" und unten links mit Bleistift limitiert 44/200; revers mit Hologramm "verification of authenticity www.grafy.blog" bezeichnet. Druck 19,2 x 28,8 cm, Blattgröße 50 x 35 cm. Prachtvoller Druck. Dabei "Certificato di Autenticita".
§ § David Hockney RA (British b.1937) 'Olympische Spiele München 1972'offset lithograph on thin wovefrom an open edition, commissioned for the 1972 Summer Olympic Games102 x 64cm, unframed***CONDITION REPORT***Good clean condition no faults noted, not framed or mounted.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
David Hockney. (1937 Bradford/Yorkshire - lebt in London und Los Angeles). The Swimmer (Olympische Spiele München 1972). 1970. Farblithographie auf leichtem Velin. 87 x 63,5 cm (102 x 63,5 cm). Im Stein signiert, datiert und typographisch bezeichnet "Olympische Spiele München 1972" und mit dem Copyright-Vermerk. - Ecken leicht knickspurig. Vereinzelt schwache Griffspuren. Insgesamt gut. Ausgezeichneter, farbkräftiger Druck. Baggott 25. - Eines von 4000 nicht nummerierten Exemplaren. - Hg. von der Edition Olympia, München 1972. - Druck bei Matthieu, Zürich. - Anlässlich der Sommer-Olympiade in München 1972 erschienen. Colour lithograph on light wove paper. Signed, dated in the stone and typographically inscribed "Olympische Spiele München 1972" and the copyright notice. - Corners slightly creased. Isolated faint traces of handling. All in all good. Excellent, strong colour print. - One of 4000 unnumbered copies. - Published by Edition Olympia, Munich. - Print by Matthieu, Zurich. - Published on the occasion of the 1972 Summer Olympics in Munich.
δ David Hockney (b.1937) after.Poster for the Staatliche Graphische Sammlung, Munich (Baggott 26)Offset lithograph printed in colours, 1977, signed in pencil, published by the Staatliche Graphische Sammlung, Munich, on wove paper, with full margins, sheet 835 x 590mm (32 ¾ x 23 ¼ in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
David Hockney (b.1937)My YorkshireThe deluxe book lacking the pigment print, 2011, signed in pencil, numbered from the edition of 75, printed by Dr. Cantz'sche Druckerei, Ostfildern, published by Enitharmon Editions, London, on wove paper, bound as issued in the green silk-covered boards and with the matching presentation box, book 250 x 330mm (10 x 13 in); overall 590 x 460mm (23 x 18in)
David Hockney (b.1937) after.The Santa Fe Festival Theatre (Baggott 6)Lithograph printed in colours, 1981, signed and inscribed 'For Leslie' in pencil, printed by Petersburg Press, London, published by The Santa Fe Festival Theatre, Arizona, on wove paper, the full sheet printed to the edges, sheet 792 x 622mm (31 1/4 x 24 1/2in)
δ David Hockney (b.1937)A Room Full of Straw, from Illustrations for Six Fairy Tales of the Brothers Grimm (MCA Tokyo 101)Etching with aquatint, 1969, signed in pencil, numbered from the edition of 100, printed by the Print Shop, Amsterdam, published by Petersburg Press Ltd., London, on wove paper, with full margins, sheet 450 x 410mm (17 3/4 x 16 1/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)French Shop (MCA Tokyo 112)Etching with aquatint, 1971, signed and dated in pencil, numbered from the edition of 500, printed by Shirley Clement Print Shop, Amsterdam, published by Observer, London, on BFK Rives paper, with full margins, sheet 625 x 535mm (24 1/2 x 21in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Olympische Spiele München, 1972 (Baggott 34)Lithograph printed in colours, 1972, printed by Matthieu, Zurich, published by Edition Olympia 1972 GmbH, Munich, on thin wove paper, the full sheet printed to the edges, sheet 1010 x 640mm (39 7/8 x 25 1/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Sir Frank Bowling R.A. (British, born 1934)Untitled acrylic and collage on canvas60.9 x 91.5 cm. (24 x 36 in.)Footnotes:ProvenanceThe Artist, by whom gifted to the parents of the present owner, circa 1978, thence by family descentPrivate Collection, U.K.Born in what was then British Guyana in 1934, Frank Bowling moved to London aged 19 and after a few years was accepted to study at the Royal College of Art. There he became part of the fabled generation of students (enrolled 1959-1962) whose emergence announced a shift in the prevailing fashion from 1950s abstraction to 1960s pop. His fellow students included Derek Boshier, Pauline Boty, David Hockney, Allen Jones, R.B. Kitaj and Peter Phillips. Bowling achieved success rapidly with a solo exhibition mounted at the Grabowski Gallery the year he graduated, from which the Arts Council purchased the canvas Birthday (1962), and he was subsequently selected for inclusion in the era-defining photobook Private-View compiled by Bryan Robertson and John Russell in 1965.Throughout the late 1960s his work embraced a hard-edged pop aesthetic in which dazzling slabs of colour fuse with text, pin-up and screen-printed imagery. Yet Bowling yearned for development. He had first visited New York in 1964 where he met Jasper Johns and Larry Rivers and two years later he relocated to the city. There he quickly began exhibiting with Terry Dintenfass, and before long received the Guggenheim fellowship, allowing him to take a large studio in SoHo. His immersion in New York's colour field painting gave rise to his highly regarded 'Maps' series (1966-1971) in which Bowling combined his by then abstract approach with political and personal concerns. Massive in scale (some span more than 6 meters) they present forms representative of continents, hovering in front of shimmering fields of stained colour. These works featured prominently in his first solo institutional show, staged at the Whitney Museum of American Art in 1971 (when Bowling was aged 37), to much acclaim.Ever the progressive, his practice developed further in 1973 when he first developed his 'poured' painting method. In his studio Bowling built a wooden platform on which a canvas would be supported. This could then be tilted to allow for the paint, poured from a height, to run down the canvas in a controlled manner. Whilst managing the palette to some extent, this technique purposefully allowed for an element of automatism to enter his work. Curator of the recent and highly celebrated Tate retrospective, Elena Crippa, elaborates; 'Bowling's was the pursuit of an organic interplay between line and medium, so that structure would not be imposed on the unruly plasticity of paint, but found and adopted through the process of making' (Elena Crippa, Frank Bowling, exh.cat., Tate Publishing, London, 2019, p.51). This process encapsulates Bowling's fascination with challenging the accepted conventions of painting, which can be traced right from his early works through to his present practice.In 1975 Bowling returned to London, which would act as his primary base for the next fifteen years. Working at first from a studio above St. Anselm's Church in Kennington, he continued to develop his 'poured' paintings. Whilst the 'Maps' series that immediately proceeded them addressed Bowling's global concerns, the poured paintings from the mid-70s are arguably more personal. Many derive their title from Guyanese locations such as Potaroway (1975, sold in these rooms on 30th June 2021 for £237,750), which takes its name from the Potaro, the vast river which winds its way 140 miles east from its source at Mount Ayanganna. Similarly, the Government Art Collection's Kaieteurtoo (1975) titled after the famous waterfall situated on the Potaro, and Bartica Bressary (1978-9, Private Collection) named after Bowling's birth town.Seen here in public for the first time since its gifting to the present owner's parents in the late 1970s, Untitled is an intriguing example of the artist's painting technique and sparkles with interest. Bowling demonstrates his mastery of colour with a fusion of orange, yellow, pink and green, brought together with an assured command of flow, density and contrast across the canvas. As with the aforementioned Potaroway, Bowling has adopted a horizontal composition rather than his more common vertical format and and a sense of defined landscape emerges from his action led process. In 1987 Bowling made history as the first artist of afro-Caribbean descent to have their work enter the Tate Collection and again in 2005 when he was elected the first black Royal Academician in the institution's history. Sir Frank Bowling was awarded a knighthood in the Queen's birthday honours, 2020, aged 86.We are grateful to the Frank Bowling Studio for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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