Gregory Thinking Of Henry
Gregory Thinking Of Henry
Signed Print
David Hockney
£3,200-£4,750
$6,000-$9,000 Value Indicator
$5,500-$8,000 Value Indicator
¥29,000-¥45,000 Value Indicator
€3,750-€5,500 Value Indicator
$30,000-$45,000 Value Indicator
¥610,000-¥900,000 Value Indicator
$4,000-$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: Lithograph
Edition size: 30
Year: 1976
Size: H 93cm x W 60cm
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 | Gregory Thinking Of Henry - Signed Print | |||
| October 2010 | Waddington's - Canada | Gregory Thinking Of Henry - Signed Print | |||
| February 2008 | Christie's London - United Kingdom | Gregory Thinking Of Henry - Signed Print | |||
| May 2005 | Christie's London - United Kingdom | Gregory Thinking Of Henry - Signed Print |
Meaning & Analysis
Gregory Thinking Of Henry (1976) is a signed lithograph print by David Hockney depicting Gregory Evans, the artist’s former lover and manager with whom he continued to work for over forty years. Next to Celia Birtwell and Henry Geldzahler, Evans remains a key figure for Hockney’s portraits. Not only does his presence in prints and paintings chronicle the intimacy of affection and friendship but also provides insight into the creative environment that shaped Hockney’s style and technique.
In this print, Evans, sitting hunched on a black chair with his legs crossed, appears pensive. With his head slightly tilted down, one hand touching the elbow, the other resting on the left thigh, the man assumes a sullen pose. Alongside the overt visual indications of nostalgia and longing, the title itself insists on an introspective character of the portrait. Hockney captures the sitter at an intimate moment of sinking in thoughts. His closed eyes suggest a process of reminiscing while the simplicity of the scene, including a completely plain background, further convey the absence of someone dear to the sitter, possibly a friend or lover. Hockney and Evans’ friendship continues until today and the artist’s extensive exhibition 82 Portraits And 1 Still-life at the Royal Academy in 2016 featured Gregory in a large-size, acrylic painting.
