Simplified Faces (State I)
Simplified Faces (State I)
Signed Print
David Hockney
£3,200-£4,750
$6,500-$9,500 Value Indicator
$5,500-$8,500 Value Indicator
¥29,000-¥40,000 Value Indicator
€3,800-€5,500 Value Indicator
$30,000-$45,000 Value Indicator
¥610,000-¥900,000 Value Indicator
$3,900-$6,000 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: 30
Year: 1973
Size: H 34cm x W 33cm
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 | Galerie Gloggner Luzern | Switzerland | |||
| September 2022 | Bonhams Knightsbridge | United Kingdom | |||
| September 2022 | Bonhams Knightsbridge | United Kingdom | |||
| September 2019 | Christie's London | United Kingdom | |||
| April 2013 | Christie's London | United Kingdom | |||
| February 2012 | Christie's London | United Kingdom | |||
| December 1993 | Christie's Amsterdam | Netherlands |
Meaning & Analysis
This signed print by British artist David Hockney is part of the artist’s Portraits collection. Issued in an edition of 30 in 1973, it is a vaguely comic piece comprising the depiction of four geometrically rendered two-dimensional faces, each paired with a similarly geometric three-dimensional shape.
This signed print by much loved British artist David Hockney was issued in 1973 in a limited edition of 30. Around this period, Hockney had spent a large amount of time producing The Weather Series – an edition of minimal yet evocative prints depicting a variety of weather events. Produced in large part following a trip Hockney made to Japan, there is a loneliness to these images which some have identified as product of the artist’s then recent breakup with artist and onetime partner Peter Schlesinger, the subject of some of his most iconic painterly works, namely A Bigger Splash (1967). Absent of any figurative depiction of friends and recurrent sitters, such as Celia Birtwell, The Weather Series bears thematic similarity to the portrait-based work, Simplified Faces (State I), despite this latter’s evocation of an entirely divergent subject matter. Faces remain the principal subject of the work, yet somehow ‘faces’ – in their traditional sense – remain absent. Instead, cartoon-like masks drawn from both memory and fantasy are propped up against static, inanimate objects which betray their spiritlessness. Beneath these geometric evocations of human features, text serves an explanatory function. ‘Simplified’, as the piece’s title suggests, these faces are reduced, by text, to emotionless form.
