Henry
Henry
Signed Print
David Hockney
£3,450-£5,000
$6,500-$9,500 Value Indicator
$6,000-$8,500 Value Indicator
¥30,000-¥45,000 Value Indicator
€3,950-€5,500 Value Indicator
$35,000-$50,000 Value Indicator
¥580,000-¥840,000 Value Indicator
$4,350-$6,500 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: Lithograph
Edition size: 50
Year: 1973
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online - United Kingdom | Henry - Signed Print | |||
| October 2023 | Christie's New York - United States | Henry - Signed Print | |||
| September 2021 | Skinner, Marlborough - United States | Henry - Signed Print | |||
| September 2021 | Christie's New York - United States | Henry - Signed Print | |||
| March 2020 | Christie's London - United Kingdom | Henry - Signed Print |
Meaning & Analysis
Henry (1973) is a signed lithograph print by David Hockney produced in collaboration with Gemini G.E.L., a legendary print studio in Los Angeles, where Hockney continued his work throughout the 1980s and 1990s. Portraying his friend, Henry Geldzahler, at three-quarter view, Hockney uses loose washes of colours and allows them to flow down freely across the image. A torrent of delicate white lines covers the sitter’s black collar shirt. Evocative of the view of constellations on a night sky, the patches of white paint against a pitch-black background endow the portrait with an air of solemnity. This impression is enhanced further by Geldzahler’s formal attire including a bowtie and pensive look suggesting a deep absorption in thoughts.
Geldzahler and Hockney met at Andy Warhol’s studio in 1963 and remained close over the next twenty years. New York Painting And Sculpture: 1940-1970, a key exhibition in Hockney’s career, was organised by Gelzahler who was the curator at the Metropolitan Museum of Art from 1960 until 1977. The range of styles and techniques in which Hockney depicted Geldzahler expanded consistently throughout the years. Looking at the 1973 print alongside Henry Gelzahler And Christopher Scott (1969), Looking At Pictures On A Screen (1977) or The Conversation (1980) offers insight into the close artistic and personal friendship as well as the evolution of Hockney’s idiom as he returned to his favourite subjects.
