Henry In His Office
Henry In His Office
Signed Print
David Hockney
£2,300-£3,450
$4,450-$6,500 Value Indicator
$3,950-$6,000 Value Indicator
¥21,000-¥30,000 Value Indicator
€2,700-€4,050 Value Indicator
$23,000-$35,000 Value Indicator
¥430,000-¥650,000 Value Indicator
$2,950-$4,400 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: 20
Year: 1976
Size: H 31cm x W 29cm
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 | Henry In His Office - Signed Print | |||
| November 2017 | Swann Auction Galleries - United States | Henry In His Office - Signed Print | |||
| October 2017 | Wright - United States | Henry In His Office - Signed Print | |||
| March 2016 | Christie's New York - United States | Henry In His Office - Signed Print |
Meaning & Analysis
Henry In His Office (1976) by David Hockney is a signed lithograph print on a handmade Kurodani Japanese paper depicting Henry Geldzahler, the artist’s lifelong friend and contemporary art curator. New York Painting and Sculpture: 1940-1970, a key exhibition in Hockney’s career, was organised by Gelzahler who was the curator at the Metropolitan Museum of Art from 1960 until 1977. The range of styles and techniques in which Hockney depicted Geldzahler expanded consistently throughout the years. Looking at the 1976 print alongside Henry Gelzahler And Christopher Scott (1969), Looking At Pictures On A Screen (1977) or The Conversation (1980) offers insight into the close artistic and personal friendship as well as the evolution of Hockney’s idiom as he returned to his favourite subjects.
In this portrait, Hockney renounces his recognizable use of crisp linear outlines associated with the naturalist tradition of representation. Instead, the friend’s likeness is configured from a series of marks, blotches, and transparent black-ink stripes resembling the Oriental brush strokes. In this print, the effect achieved by Hockney’s use of tusche, a diluted form of lithographic ink, is one of fluidity. Given their irregular shape and varied intensity of the ink, the stripes seem to flow down from the sitter’s shirt. While the sitter’s body language is relaxed, his facial expression appears earnest. As the man’s gaze is focused at an indefinite point in front of him, a rather nostalgic demeanour seems to reflect the moment of sinking in thought. Depicting the man against a plain background, the print displays an extreme simplicity reflective of Hockney’s attempt to orient the viewer’s attention towards the sphere of emotions and feelings experienced by his sitters.
