Cleanliness Is Next To Godliness
Cleanliness Is Next To Godliness
Signed Print
David Hockney
£8,500-£12,500
$17,000-$25,000 Value Indicator
$15,000-$22,000 Value Indicator
¥80,000-¥110,000 Value Indicator
€10,000-€15,000 Value Indicator
$80,000-$120,000 Value Indicator
¥1,650,000-¥2,430,000 Value Indicator
$10,500-$16,000 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: Screenprint
Edition size: 40
Year: 1965
Size: H 91cm x W 59cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2024 | Bonhams New Bond Street | United Kingdom | |||
| June 2024 | Mainichi Auction, Tokyo | Japan | |||
| March 2017 | Christie's London | United Kingdom | |||
| February 2012 | Christie's London | United Kingdom | |||
| June 2008 | Bonhams New Bond Street | United Kingdom | |||
| March 2007 | Sotheby's Online | United Kingdom | |||
| April 2003 | Christie's London | United Kingdom |
Meaning & Analysis
Cleanliness Is Next to Godliness is a signed screen print by British artist, David Hockney. Released in an edition of 40 in 1964, this print makes use of bright colours inspired by the bright Californian sun, and is a product of Hockney’s move from Britain to the United States in the same year.
Cleanliness Is Next to Godliness is equally concerned with the straightforward depiction of the male form. Marking a departure from the muted allusions to homosexuality which defined Hockney’s work at the beginning of the ’60s, this print’s use of bright colours and photographic likeness is testament to the profound influence of California upon the artist’s production and personal life alike.
Having never previously visited the United States, Hockney set up his home and artist’s studio in Santa Monica, California in 1964; a relocation he has likened to that of Van Gogh, who in 1888 moved from Paris to Arles in Southern France to benefit from bright colours and crisp, dazzling sunlight. Hockney’s time in California introduced him to the graphic consumer culture of ‘60s America, the Polaroid camera, and a thriving gay scene.
As in the painting Man in Shower in Beverley Hills (1964), this print sees Hockney feature two recurrent motifs in his work: the shower and the male nude. Turning back towards the viewer, the male figure depicted is abstracted by a block of vivid blues and pinks - a shower curtain which partially conceals the contours of the body, but which enables a privileged view into the shower space and the privacy it represents.
