The Drinking Scene
The Drinking Scene
Signed Print
David Hockney
£5,500-£8,000
$10,500-$15,000 Value Indicator
$9,500-$13,500 Value Indicator
¥50,000-¥70,000 Value Indicator
€6,500-€9,500 Value Indicator
$50,000-$80,000 Value Indicator
¥1,050,000-¥1,520,000 Value Indicator
$7,000-$10,000 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: 50
Year: 1961
Size: H 30cm x W 40cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| January 2019 | Phillips London - United Kingdom | The Drinking Scene - Signed Print | |||
| September 2013 | Sotheby's Online - United Kingdom | The Drinking Scene - Signed Print |
Meaning & Analysis
The Drinking Scene is plate no.4 from David Hockney’s celebrated series A Rake’s Progress. Begun in 1961 while the artist was still at the Royal College of Art the portfolio was published in 1963 as a signed edition of 50. Inspired by Hogarth’s series of the same name, the portfolio represents a modern take on the 18th century cautionary tale based on the young artist’s own experiences of his first visit to New York.
Hockney began work on A Rake's Progress portfolio in 1961 while he was still a student, taking inspiration from Hogarth’s 1735 work of the same name. While Hogarth’s prints are filled with details and drama, however, Hockney presents a modern and understated – although just as powerful – tale, focusing on his personal experience of loneliness and alienation in a foreign city.
The Drinking Scene shows two figures standing at a bar, their backs turned to the viewer. One has his arm around the other and they appear deep in conversation, and perhaps already drunk. To the right of the bar scene two figures are shown facing us, perhaps the same ones, their bodies cropped to focus on their faces, almost pressed together in a conspiratorial way. The only touch of colour is the lettering above their heads that reads ‘bar’ with an arrow pointing to the left. The bar itself offers a wonderful still life of bottles on shelves, framed by what appears to be a kind of fringe of the type found above a stage. Here we see Hockney’s fascination with theatre and trompe l’oeil manifest itself, as in the later print Figure By A Curtain and his later work on stage sets and costumes, including an opera version of A Rake’s Progress for Glyndebourne in 1975.
