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House Doodle - Signed Print by David Hockney 1984 - MyArtBroker

House Doodle
Signed Print

David Hockney

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61 x 91cm, Edition of 60, Etching

Medium: Etching

Edition size: 60

Year: 1984

Size: H 61cm x W 91cm

Signed: Yes

Format: Signed Print

Last Auction: January 2022

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
January 2022
Phillips London
United Kingdom
N/A
N/A
N/A
February 2018
Wright
United States
July 2015
Christie's New York
United States
May 2007
Bonhams San Francisco
United States
June 2000
Christie's New York
United States
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The value of David Hockney's House Doodle (signed) is estimated to be worth between £6,000 and £9,500. This etching print, created in 1984, has shown consistent value growth and has an auction history of five total sales since its entry to the market on 13th June 2000. The average annual growth rate of this work is 2%. This artwork is rare to the market and has an auction history of five total sales since its entry to the market on 13th June 2000. The edition size of this artwork is limited to 60.

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Meaning & Analysis

This signed etching on paper, entitled House Doodle, is by British artist David Hockney. It was produced in 1984 – the same year in which Hockney painted the vast canvas A Visit With Christopher And Don, Santa Monica Canyon, a work he once called “the most complicated painting I’ve ever done”. Complication is a theme which also permeates House Doodle, which was released in an edition of 60. Art historian Marco Livingstone, a close friend of Hockney, once described the etching as a visual exploration of the ‘stream-of-consciousness wanderings of the mind’. Like many other of Hockney’s works, it owes visible debt to the work of Spanish painter, Pablo Picasso; in the centre of the etching, a distorted face looks out to us, recalling Picasso’s famed portraits of the French surrealist, Dora Maar. Subjects which frequently recur within Hockney’s wider œuvre also feature in the work, including the swimming pool and the distorted chair, depicted from a multitude of clashing perspectives. Uniting many different motifs and influences within one work - which, strikingly, appears to have no central focal point - Hockney provides a cartographic rendering of his artistic practice and the many sources of inspiration it harnesses. Much like the prints Auden (1970) or Maurice Payne (1971), there is an ethereal quality to this piece which Hockney creates by being economical in his approach towards likeness.

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