Gretchen And The Snurl
Gretchen And The Snurl
Signed Print
David Hockney
£4,850-£7,500
$9,500-$15,000 Value Indicator
$8,500-$13,500 Value Indicator
¥45,000-¥70,000 Value Indicator
€6,000-€9,000 Value Indicator
$50,000-$70,000 Value Indicator
¥940,000-¥1,460,000 Value Indicator
$6,000-$9,500 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: 50
Year: 1961
Size: H 29cm x W 79cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2023 | Bonhams New Bond Street | United Kingdom | |||
| December 2021 | Bonhams New Bond Street | United Kingdom | |||
| March 2017 | Christie's London | United Kingdom | |||
| September 2016 | Christie's London | United Kingdom | |||
| February 2012 | Christie's London | United Kingdom | |||
| November 2007 | Bonhams New Bond Street | United Kingdom | |||
| June 2004 | Christie's London | United Kingdom |
Meaning & Analysis
Gretchen And The Snurl is a signed print by much-loved British artist, David Hockney. Produced in 1961, during the artist’s second year at London’s Royal College of Art, it was issued in a limited edition of 50. An example of the artist’s early gestural style, it illustrates a story written by one of Hockney’s fellow students, Mark Berger.
This signed print by British artist David Hockney was completed by the artist in 1961, during his second year at London’s Royal College of Art. Whilst at the Royal College of Art, Hockney met his contemporary, American painter R.B. Kitaj. This particular print is the product of another of Hockney’s university contemporaries, Mark Berger. Illustrating one of his stories, which sees a boy named Gretchen venture out into the big city only to be befriended by Boorp the Snurl, a large round-shaped creature with a human head, it confronts the interplay between narrative and images. The print recalls the storyboard-like form of 18th-century English artist William Hogarth’s painting series The Rake’s Progress, which in 1963 Hockney adapted for his print series of the same name, and comprises a series of 5 individual etchings. A miniature evocation of one of Hockney’s so-called ‘Love’ paintings, We Two Boys Together Clinging (1961) - also produced during his second year at the Royal College of Art (RCA) - is the last image in the narrative sequence. Gestural in style and parodical in subject matter, this cryptic print appears to reference the issue of sexual orientation, one of the anthropomorphic characters it portrays - ‘Snatch’ -being a visual metaphor for heterosexuality.
