The Marriage
The Marriage
Signed Print
David Hockney
£5,500-£8,000Value Indicator
$11,000-$16,000 Value Indicator
$10,000-$14,500 Value Indicator
¥50,000-¥70,000 Value Indicator
€6,500-€9,500 Value Indicator
$50,000-$80,000 Value Indicator
¥1,040,000-¥1,510,000 Value Indicator
$7,000-$10,000 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: Intaglio
Edition size: 75
Year: 1962
Size: H 28cm x W 38cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2024 | Nosbüsch & Stucke | Germany | |||
| September 2024 | Christie's London | United Kingdom | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| June 2023 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
| August 2020 | Wright | United States | |||
| June 2020 | Germann Auctions | Switzerland | |||
| February 2019 | Sotheby's Online | United Kingdom |
Meaning & Analysis
This signed print by internationally venerated British artist David Hockney is from 1962. Issued in an edition of 75, it depicts a couple seen in profile and is a printed study for the larger painting, First Marriage (A Marriage Of Styles 1).
This signed print by much loved British artist David Hockney is from 1962 – a year marked by the artist’s graduation from London’s prestigious art school, the Royal College of Art (RCA). Like The Hypnotist MCA Tokyo, a print study for a larger painting named The Hypnotist, this work is a study for the painting First Marriage (A Marriage Of Styles 1). Depicting a couple in profile, the work makes use of the child-like and cartoon-esque style characteristic of Hockney’s depiction of the human form during this period. The female figure wears earrings which echo the concentric forms of her headband and Hockney’s caricature-like rendering of her breasts. Behind the couple is a simplistic portrayal of a palm tree – a recurring feature of Hockney’s 1960s etchings, as in Pacific Mutual Life (1964). The inspiration for this work came from a visit to Germany in the summer of 1962. Accompanied by an American friend, Hockney looked around East Berlin’s Pergamon Museum, where he saw his friend stand next to a seated Egyptian figure crafted in wood. One of the chief inspirations for this work is that of French Dadaist, Jean Dubuffet. Commenting on Dubuffet’s influence on his cartoon-like works of the early ‘60s, Hockney once said: ‘it was his style of doing images, the kind of childish drawings he used that attracted me.’
