Illustrations for Six Fairy Tales From The Brothers Grimm Edition A (complete set)
Illustrations for Six Fairy Tales From The Brothers Grimm Edition A (complete set)
Signed Print
David Hockney
45 x 32cm, Edition of 100, Etching, 1970
£30,000-£50,000
$60,000-$100,000 Market Value Indicator
$60,000-$90,000 Market Value Indicator
¥280,000-¥460,000 Market Value Indicator
€35,000-€60,000 Market Value Indicator
$320,000-$530,000 Market Value Indicator
¥6,470,000-¥10,780,000 Market Value Indicator
$40,000-$70,000 Market Value Indicator
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Track auction value trend
Meaning & Analysis
Created by Hockney between 1969 and 1970, this series reinterprets classic tales such as Rapunzel and The Little Sea Hare through Hockney's distinctive visual language. The etchings, some enhanced with aquatint, were printed on Hodgkinson handmade wove paper.
Hockney's Illustrations For Six Fairy Tales From The Brothers Grimm Edition A (complete set) offers a visual reinterpretation of timeless tales. The series showcases Hockney's approach to printmaking and storytelling, combining traditional narratives with contemporary artistic techniques. Hockney's etchings vary in style, from intricate detailing to stark minimalism. His use of aquatint adds depth and texture, enhancing the narrative quality of each piece. In Rapunzel, for example, Hockney depicts the tower with bold, geometric lines, contrasting with the delicate rendering of the character's flowing hair.
The artist's choice of scenes and their visual representation adds a new dimension to these well-known stories. In The Boy Who Left Home to Learn Fear, Hockney's interpretation of fearful elements creates a surreal, dreamlike quality. The etching The Little Sea Hare demonstrates Hockney's skill in creating texture through line work, particularly in the depiction of water and vegetation.
Hockney's printmaking process involved multiple stages, including plate preparation, acid etching, and careful inking. This meticulous approach is evident in the fine line work and tonal variations across the series. For instance, in Fundevogel’, Hockney uses cross-hatching to create shadows, while in The Older Rapunzel, he employs lighter, more fluid lines to convey movement. This series invites viewers to reconsider familiar narratives through Hockney's unique artistic lens, demonstrating his ability to merge classical storytelling with modern printmaking techniques.
