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Dog Etching No. 2 - Signed Print by David Hockney 1998 - MyArtBroker

Dog Etching No. 2
Signed Print

David Hockney

£19,000-£28,000Value Indicator

$40,000-$60,000 Value Indicator

$35,000-$50,000 Value Indicator

¥170,000-¥260,000 Value Indicator

23,000-35,000 Value Indicator

$190,000-$270,000 Value Indicator

¥3,640,000-¥5,370,000 Value Indicator

$24,000-$35,000 Value Indicator

13% AAGR

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: 35

Year: 1998

Size: H 42cm x W 47cm

Signed: Yes

Format: Signed Print

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The value of David Hockney's Dog Etching No. 2 (signed) is estimated to be worth between £19,000 to £28,000. This etching was created in 1998 and is a rare artwork with an auction history of one sale on 20th May 2008. This is a high-quality artwork with a steady value. The edition size of this artwork is limited to 35.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
May 2008Bonhams San Francisco United States

Meaning & Analysis

Dog Etching No. 2 (1998) depicts the two dogs sleeping together on a pillow. A similar scene features in Hockney’s Dog 43 Poster created for the Salts Mill exhibition. While the artist’s paintings of sausage dogs are most often associated with the vibrant pastel colour palette exemplified by the exhibition poster, this etching offers a more minimalist take on the subject. The artist reduces the tender scene to a minimum detail and draws upon the contrast between the dogs’ black fur and the brightness of the pillow. With the use of only a few elements, the print evokes a sense of secure comfort and tranquillity rooted in the artist’s personal world and, at the same time, speaking to the universal human experience and feelings.

Although affectionate and lighthearted in appearance, the pet portraits are rooted deeply in the context of personal loss. Hockney started to paint his dogs after the death of his close friend Henry Geldzahler, the American curator of contemporary art. He commented in this context: “I wanted desperately to paint something loving… I felt such a loss of love I wanted to deal with it in some way. I realised I was painting my best friends. [...] They’re like little people to me. The subject wasn’t dogs but my love of the little creatures.”

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