Dog Etching No. 8
Dog Etching No. 8
Signed Print
David Hockney
£23,000-£35,000
$45,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥210,000-¥320,000 Value Indicator
€28,000-€40,000 Value Indicator
$230,000-$350,000 Value Indicator
¥4,580,000-¥6,960,000 Value Indicator
$30,000-$45,000 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: 1998
Size: H 30cm x W 35cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2009 | Christie's New York - United States | Dog Etching No. 8 - Signed Print | |||
| May 2009 | Bonhams San Francisco - United States | Dog Etching No. 8 - Signed Print |
Meaning & Analysis
As with the other works in the Dogs series of 1998, here Hockney has chosen to depict one of his dachshunds in monochrome, using just black ink to convey the fur and features of his beloved pet. He has also chosen again to use a cushion to frame the composition and add an extra layer of tenderness and comfort to the portrait. We are shown the dog’s face in slight profile as he sleeps, peacefully unaware of his role as the sitter, with his body curled up in a soft dark mound. By a trick of perspective the dog appears much more compact than we would expect from a sausage dog, giving him the air of being a puppy rather than a full grown dog. Hockney started drawing dogs in 1987 when he adopted his first pair of dachshunds. What began as a casual drawing exercise soon became a series of touching portraits that are now an important part of his oeuvre. In 1995 Hockney took this practice one step further and began painting his dogs, in reaction to the grief he felt over the death of Henry Geldzahler and many other close friends he lost to the AIDS crisis of the preceding years. Speaking of this turn in his work Hockney said, “I wanted desperately to paint something loving. … I felt such a loss of love I wanted to deal with it in some way.”
