Dog Etching No. 10
Dog Etching No. 10
Signed Print
David Hockney
£21,000-£30,000
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥190,000-¥270,000 Value Indicator
€25,000-€35,000 Value Indicator
$210,000-$290,000 Value Indicator
¥4,090,000-¥5,840,000 Value Indicator
$27,000-$40,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Etching
Edition size: 35
Year: 1998
Size: H 48cm x W 42cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2023 | Christie's New York - United States | Dog Etching No. 10 - Signed Print | |||
| October 2017 | Phillips New York - United States | Dog Etching No. 10 - Signed Print | |||
| April 2015 | Doyle Auctioneers & Appraisers - United States | Dog Etching No. 10 - Signed Print | |||
| May 2010 | Wright - United States | Dog Etching No. 10 - Signed Print | |||
| May 2009 | Bonhams San Francisco - United States | Dog Etching No. 10 - Signed Print |
Meaning & Analysis
In 1998 Hockney set up a dedicated print studio in his Hollywood Hills home. Here, he collaborated with his friend Maurice Payne, who would prepare the plates for Hockney to draw directly onto in order to recreate the spontaneity of his original dog drawings. The prints from this series tend to show Hockney’s beloved dachshunds, Stanley and Boodgie sleeping (the only time when Hockney could get them to sit still for a portrait) and are rendered in soft cross hatched marks that convey their wiry fur and classic sausage dog shape. Here we see one of the dogs resting on the arm of a sofa, his pointed face turned towards the floor which echoes the fine lines of the dog’s fur. An intimate portrait, this etching conveys the artist’s love for his dogs who he described as ‘little people’. Hockney became particularly attached to his canine companions after losing so many of his friends to the AIDS crisis, turning the attention he bestowed upon his friends and lovers in earlier portrait series onto these very different subjects as a way of grieving.
