Henry With Cigar
Henry With Cigar
Signed Print
David Hockney
£1,550-£2,350
$3,100-$4,650 Value Indicator
$2,800-$4,250 Value Indicator
¥14,000-¥22,000 Value Indicator
€1,850-€2,850 Value Indicator
$15,000-$23,000 Value Indicator
¥300,000-¥460,000 Value Indicator
$1,950-$2,950 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: Lithograph
Edition size: 25
Year: 1976
Size: H 27cm x W 27cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online | United Kingdom | |||
| November 2021 | Bonhams New York | United States | |||
| December 2018 | Sotheby's New York | United States | |||
| July 2015 | Christie's New York | United States | |||
| May 2008 | Lempertz, Cologne | Germany |
Meaning & Analysis
Henry With Cigar (1976) is a signed lithograph print by David Hockney depicting his lifelong friend, Henry Geldzahler. Known for his preference to choose close friends and family members as sitters, Hockney has recurrently portrayed the influential museum curator throughout his career. The artist met Henry Geldzahler at Andy Warhol’s studio in 1963. Their friendship evolved quickly and, having travelled together around Germany and France, the two rented a villa in northern Italy during the summer of 1973. Alongside Henry Gelzahler And Christopher Scott (1969), Looking At Pictures On A Screen (1977) and The Conversation (1980), each portraying the famous museum curator in a different technique and style, the 1976 print attests to Hockney’s need to discover new ways of representing his favourite subjects.
While working on such famous portraits as My Parents And Myself (1975), Hockney took a series of photographs to serve as studies for individual figures. The period of late 1970s marks Hockney’s growing distrust towards photography, a medium which, in the artist’s view, allows one to capture details at a high level of accuracy but does not necessarily correspond with the experience of reality by the individual. In 1976, the artist moves away from the use of the photographic image as a point of reference for portraits. The shift makes itself present in Henry With Cigar through Hockney’s use of tusche, a diluted form of lithographic ink that renders Geldzahler’s facial features in a series of marks and blotches resembling strokes of the Oriental brush.
The use of tusche here can be seen to encapsulate the artist's desire to distance himself from the tradition of naturalism with its precise use of a hard line and down-to-earth approach towards the representation of the human subject. Although Geldzahler’s likeness is immediately recognizable in the print, Hockney’s way of treating the subject is different compared to his earlier portraits characterised by precise details and crisp linear outlines. Displaying the economy of means, thick blotches, and bold strokes, the print represents Hockney’s embracing of a more freewheeling approach to the art of portraiture.
