Tick It, Tock It, Turn It True
Tick It, Tock It, Turn It True
Signed Print
David Hockney
£2,450-£3,650Value Indicator
$5,000-$7,500 Value Indicator
$4,550-$7,000 Value Indicator
¥23,000-¥35,000 Value Indicator
€2,900-€4,350 Value Indicator
$25,000-$40,000 Value Indicator
¥480,000-¥720,000 Value Indicator
$3,250-$4,850 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: 200
Year: 1977
Size: H 53cm x W 46cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Rago | United States | |||
| October 2023 | Bonhams Los Angeles | United States | |||
| September 2023 | Christie's London | United Kingdom | |||
| April 2023 | Leslie Hindman Auctioneers, Chicago | United States | |||
| September 2022 | Sotheby's Online | United Kingdom | |||
| July 2021 | Christie's New York | United States | |||
| April 2021 | Phillips New York | United States |
Meaning & Analysis
Featuring many of the objects and motifs that run throughout the whole series of prints entitled The Blue Guitar, Tick It, Tock It, Turn It True is a familiarly enigmatic scene by David Hockney. A chair sits at some distance from a table upon which rests a bowl of fruit. But rather than presenting the traditional interior or still life view we have come to expect from Hockney’s oeuvre, the artist subverts the normality of the scene with the introduction of a fragmented figure, a strange grid like object and the inclusion of a curtain which adds a theatrical dimension to the composition. Rendered in soft blue and red tones the work shows most of all Hockney’s mastery of the sugar lift aquatint technique which he had only recently begun using in his etching thanks to a period of time spent with master printer Aldo Crommelynck who had worked closely with Picasso, the artist who originally inspired Wallace Stevens to write his Blue Guitar poem which in turn inspired Hockney to create this series of prints. While many of the prints in the portfolio contain overt references to Picasso and Stevens, here the subject matter remains veiled and ambiguous.
