£10,500-£15,000
$21,000-$30,000 Value Indicator
$19,000-$27,000 Value Indicator
¥100,000-¥140,000 Value Indicator
€12,500-€18,000 Value Indicator
$110,000-$150,000 Value Indicator
¥2,080,000-¥2,970,000 Value Indicator
$13,500-$19,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Lithograph
Edition size: 39
Year: 1979
Size: H 120cm x W 80cm
Signed: Yes
Format: Signed Print
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Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
---|---|---|---|---|---|
November 2023 | Sotheby's Online - United Kingdom | Joe With David Harte - Signed Print | |||
March 2023 | Sotheby's New York - United States | Joe With David Harte - Signed Print | |||
December 2022 | Bonhams New Bond Street - United Kingdom | Joe With David Harte - Signed Print | |||
April 2021 | Leonard Joel, Melbourne - Australia | Joe With David Harte - Signed Print | |||
March 2021 | Bonhams Los Angeles - United States | Joe With David Harte - Signed Print | |||
January 2020 | Skinner, Marlborough - United States | Joe With David Harte - Signed Print | |||
June 2018 | Stair Galleries - United States | Joe With David Harte - Signed Print |
A young man sits with his back to us in a wicker seat, his head turned in profile, looking away from the figure who watches him reproachfully while standing in the corner of the room. The seated man, who we recognise as Joe Macdonald from Hockney’s earlier print series, Friends, has been rendered in an inky blue while the man who must be David Harte is delineated in a bright red which both complements and contrasts, pitting the two against each other as if they are fighters in opposite corners of a boxing ring. The work, titled Joe With David Harte, is part of Hockney’s Tyler Graphics 1979 Portfolio, a series of lithographs of portraits of his friends characterised by a number of poses in which the sitter is turned or looking away from the artist/viewer. This failure to meet our gaze evokes intimacy in the work, which could also be read as a kind of mistrust, or intrusion, as if the artist had caught them unawares or is spying on them. The work is also notable for its loose style, its inky brush strokes a key to Hockney’s way of working with a brush dipped in tusche (diluted lithographic ink) which allowed him to create a more painterly effect in his prints.