Christopher Isherwood And Don Bachardy
Christopher Isherwood And Don Bachardy
Signed Print
David Hockney
£5,000-£8,000
$10,000-$16,000 Value Indicator
$9,000-$14,000 Value Indicator
¥45,000-¥70,000 Value Indicator
€6,000-€9,500 Value Indicator
$50,000-$80,000 Value Indicator
¥970,000-¥1,560,000 Value Indicator
$6,500-$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: Lithograph
Edition size: 96
Year: 1976
Size: H 72cm x W 95cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online - United Kingdom | Christopher Isherwood And Don Bachardy - Signed Print | |||
| February 2022 | Tennants Auctioneers - United Kingdom | Christopher Isherwood And Don Bachardy - Signed Print | |||
| June 2015 | Leonard Joel, Melbourne - Australia | Christopher Isherwood And Don Bachardy - Signed Print | |||
| June 2013 | Karl & Faber - Germany | Christopher Isherwood And Don Bachardy - Signed Print | |||
| April 2011 | Christie's London - United Kingdom | Christopher Isherwood And Don Bachardy - Signed Print | |||
| March 2006 | Bonhams New Bond Street - United Kingdom | Christopher Isherwood And Don Bachardy - Signed Print | |||
| November 2004 | Bonhams New Bond Street - United Kingdom | Christopher Isherwood And Don Bachardy - Signed Print |
Meaning & Analysis
While some of the prints in the 1976 Friends series make use of the medium of lithography to achieve a softer, more painterly effect, Christopher Isherwood And Don Bachardy retains a more sketchy line, recalling Hockney’s earlier etchings. Here we find the great writer and his partner sitting in matching rattan armchairs behind a coffee table upon which lays an unusual still life consisting of a lemon squeezer and shucked cob of corn. The corn kernels recall the texture of the armchairs which in turn is echoed in the shutters behind the figures. Hockney had of course painted the couple’s portrait, in almost the exact same triangular composition, in 1968. While that work showed the sitters fully clothed, however, in this work they are wearing dressing gowns, adding an air of intimacy to this scene and to their relationship. While homosexuality was no longer illegal in most states and countries by 1976, it was still unusual to come across open celebrations of gay love in contemporary art. As with his earlier series Illustrations For Fourteen Poems By C.P. Cavafy here the homoeroticism is laid bare as if defiantly challenging conservative viewers to take issue with it.
