Dog Etching No. 6
Dog Etching No. 6
Signed Print
David Hockney
£12,000-£18,000
$24,000-$35,000 Value Indicator
$22,000-$30,000 Value Indicator
¥110,000-¥170,000 Value Indicator
€14,500-€22,000 Value Indicator
$120,000-$180,000 Value Indicator
¥2,330,000-¥3,500,000 Value Indicator
$15,000-$23,000 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: Etching
Edition size: 35
Year: 1994
Size: H 22cm 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 |
|---|---|---|---|---|---|
| October 2022 | Phillips New York | United States | |||
| October 2017 | Phillips New York | United States | |||
| April 2011 | Bonhams New Bond Street | United Kingdom |
Meaning & Analysis
While most of Hockney’s portraits of his pet dachshunds Stanley and Bodgie show the pair in full length repose, here the artist has chosen to focus just on the head of one of the dogs. With just a handful of lines and the beautiful addition of shading, the artist manages to convey the peaceful countenance and elegant features of the sausage dog, who has his eyes shut in sleep. A cushion is lightly sketched out becoming a frame for the composition and adding to the feeling of comfort and safety in this image. Hockney began sketching the dogs when he adopted his first pair of dachshunds in 1987. What began as a quick drawing exercise soon took on more importance in his oeuvre however, as he began drawing directly onto an etching plate to create multiples of these heartfelt portraits and later even turned to painting to depict his canine sitters in full colour. While they are undeniably portraits of love, they can also be read as portraits of loss; Hockney described his motivation for painting his dogs in 1995 as a reaction to losing many friends and lovers to the AIDS crisis of the 80s and 90s, saying “I wanted desperately to paint something loving. … I felt such a loss of love I wanted to deal with it in some way.”
