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Cleanliness Is Next To Godliness - Signed Print by David Hockney 1965 - MyArtBroker

Cleanliness Is Next To Godliness
Signed Print

David Hockney

£8,500-£13,000Value Indicator

$17,000-$26,000 Value Indicator

$15,000-$23,000 Value Indicator

¥80,000-¥120,000 Value Indicator

10,500-16,000 Value Indicator

$80,000-$130,000 Value Indicator

¥1,610,000-¥2,460,000 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.

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Medium: Screenprint

Edition size: 40

Year: 1965

Size: H 91cm x W 59cm

Signed: Yes

Format: Signed Print

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The value of David Hockney’s Cleanliness Is Next To Godliness (signed) is estimated to be worth between £8,500 and £13,000. This screenprint, created in 1965, has shown consistent value growth, with an average annual growth rate of 7%. This work has an auction history of seven total sales since its entry to the market in April 2003. Over the past 12 months, the average selling price was £10,845, across two total sales. In the last five years, the hammer price has varied from £8,000 in December 2024 to £13,690 in June 2024. The average return to the seller over this period was £9,218. The edition size of this artwork is limited to 40.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
December 2024Bonhams New Bond Street United Kingdom
June 2024Mainichi Auction, Tokyo Japan
March 2017Christie's London United Kingdom
February 2012Christie's London United Kingdom
June 2008Bonhams New Bond Street United Kingdom
March 2007Sotheby's Online United Kingdom
April 2003Christie's London United Kingdom

Meaning & Analysis

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.