Ann In The Studio
Ann In The Studio
Signed Print
David Hockney
£1,200-£1,800
$2,400-$3,600 Value Indicator
$2,150-$3,250 Value Indicator
¥11,000-¥17,000 Value Indicator
€1,450-€2,150 Value Indicator
$12,000-$18,000 Value Indicator
¥230,000-¥340,000 Value Indicator
$1,550-$2,300 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: Intaglio
Edition size: 61
Year: 1984
Size: H 78cm x W 106cm
Signed: Yes
Format: Signed Print
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 | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2024 | Christie's New York | United States | |||
| October 2022 | Doyle Auctioneers & Appraisers | United States | |||
| October 2021 | Wright | United States | |||
| July 2021 | Christie's New York | United States | |||
| September 2020 | Sotheby's Online | United Kingdom | |||
| February 2020 | Rago | United States | |||
| March 2019 | Forum Auctions London | United Kingdom |
Meaning & Analysis
This signed intaglio is an etching with aquatint by British artist David Hockney is part of the artist’s Portraits collection. Issued in 1984 in an edition of 60, the work depicts Hockney’s acquaintance Ann. Like all of Hockney’s portraits, his subject is sitting down, reflecting a close, well-acquainted mood.
This signed Intaglio by renowned British artist David Hockney was released in 1984 in an edition of 60. As the title suggests, the work depicts the artist’s acquaintance Ann in his studio, the exclusive location of all of his portraiture works. Ann sits centrally in the foreground as Hockney’s studio sprawls in the background on either side. Relaxed with one hand propping up her head as she leans back into the chair, the sitter’s gaze is not on the viewer, but on the artist, suggesting the two are engaged in conversation whilst her portrait is being captured. Ann’s features are reduced to simplistic lines, yet Hockney’s skill lies in his ability to still capture a great likeness. Executed in a Picasso-esque style, the simplicity of this line drawing does not conceal its intimacy and emotion. Throughout the Portraits collection, and indeed Hockney’s entire oeuvre, the artist’s style continues to change, reflecting the limitlessness of his artistic abilities.
