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Dogs

David Hockney began drawing dogs in 1987 when he adopted his first pair of dachshunds. What began as a drawing exercise soon became a series of tender portraits. The prints from this series tend to show Hockney’s beloved Stanley and Boodgie, often shown when they make the best sitters— asleep.

David Hockney Dogs For sale

Dogs Value (5 Years)

Works from the Dogs series by David Hockney have a strong market value presence, with 78 auction appearances. Top performing works have achieved standout auction results, with peak hammer prices of £257952. Over the past 12 months, average values across the series have ranged from £6281 to £250000. The series shows an average annual growth rate of 5.75%.

Dogs Market value

Annual Sales

Auction Results

ArtworkAuction
Date
Auction
House
Return to
Seller
Hammer
Price
Buyer
Paid
9 Sept 2025
Brunk Auctions
£5,525
£6,500
£7,500
23 May 2025
Beaussant-Lefèvre
£20,400
£24,000
£30,000
22 Oct 2024
Sotheby's New York
£127,500
£150,000
£200,000
27 Sept 2023
Christie's London
£12,750
£15,000
£20,000
19 Jul 2023
Christie's New York
£19,550
£23,000
£30,000
18 Jan 2023
Phillips London
£23,800
£28,000
£40,000
24 Oct 2022
Phillips New York
£12,325
£14,500
£20,000
29 Mar 2022
Bonhams Los Angeles
£17,850
£21,000
£27,000

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Meaning & Analysis

Beginning around 1980, Hockney’s Dogs series documents the ongoing affection and tenderness with which he studies his furry companions. What began as a casual drawing exercise soon became a collection of tender portraits that are now an important part of his oeuvre.

In 1995 Hockney took this practice one step further and began painting his dogs, in reaction to the grief he felt over the death of Henry Geldzahler and many other close friends he lost to the AIDS crisis of the preceding years. Speaking of this turn in his work Hockey said, “I wanted desperately to paint something loving. … I felt such a loss of love I wanted to deal with it in some way. I realized I was painting my best friends, Stanley and Boodgie. They sleep with me; I’m always with them here. They don’t go anywhere without me and only occasionally do I leave them. They’re like little people to me. The subject wasn’t dogs but my love of the little creatures.” At this time Hockney also began experimenting with etching and using aquatint to create multiples of his dog paintings which culminated in pieces such as Horizontal Dogs.

In 1998 Hockney set up a dedicated print studio in his Hollywood Hills home. Here, he collaborated with his friend Maurice Payne, who would prepare the plates for Hockney to draw directly onto in order to recreate the spontaneity of his original dog drawings. The prints from this collection tend to show Hockney’s beloved dachshunds, Stanley and Boodgie, on a cushion that also works as a framing device for the composition. They are often shown asleep (the only time when Hockney could get them to sit still for a portrait) and are rendered in soft cross hatched marks that convey their wiry fur and classic dachshund form. Rendered in monochrome they represent a subtle counterpoint to the vibrancy of the earlier painting series. These works are collected, along with earlier paintings and drawings, in the book David Hockney’s Dog Days which was published in 1998.

10 Facts About Hockney’s Dogs

A monochrome etching showing two dachshunds curled up asleep, their bodies forming a gentle arc across the page.

Dog Etching No. 14 © David Hockney 1998

1. David Hockney’s dachshunds Stanley and Boodgie inspired his Dog series

Hockney adopted his first dachshund, Stanley, in 1987, followed shortly after by Boodgie. The pair became his constant companions, rarely leaving his side. What began as quick sketches of them sleeping or playing evolved into a dedicated body of printmaking work. Hockney’s close bond offered endless visual possibilities, and he once said, “They’re like little people to me.” His dachshunds became not just his muses but also a source of stability and affection during a difficult period in his life.

A black-and-white etching of two dachshunds resting together, their forms closely intertwined in quiet repose.

Dog Etching No. 2 © David Hockney 1998

2. The Dog series were created during a period of grief and reflection

In the mid-1990s, Hockney lost several close friends to the AIDS crisis, including curator Henry Geldzahler. Struggling with grief, he turned to his dogs as subjects that represented love, comfort and continuity. Through the Dogs prints, Hockney sought to create something loving and restorative, and the simple act of observing Stanley and Boodgie as they slept became a daily ritual. These prints are therefore deeply personal, reflecting not only affection but a longing for connection amid isolation.

A tall-format print depicting Stanley and Boodgie sitting upright, their elongated bodies emphasised by the vertical composition.

Vertical Dogs © David Hockney 1995

3. Hockney set up a home print studio to capture his dogs from life

By 1998, Hockney had transformed a room in his Hollywood Hills home into a printmaking studio. He worked closely with his friend and master printer Maurice Payne, who prepared the plates that Hockney drew directly onto. This method allowed him to preserve the immediacy of drawing while experimenting with the rich tonal range of etching and aquatint. With his dogs sleeping close by, Hockney could translate spontaneous observations into finished prints within hours, creating a uniquely intimate record of daily life.

A finely detailed etching of a dachshund stretched out on a cushion, captured in a moment of calm stillness.

Dog Etching No. 4 © David Hockney 1998