Dog Etching No. 10
Dog Etching No. 10
Signed Print
David Hockney
£21,000-£30,000Value
Indicator
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥190,000-¥270,000 Value Indicator
€24,000-€35,000 Value Indicator
$210,000-$290,000 Value Indicator
¥3,810,000-¥5,440,000 Value Indicator
$26,000-$40,000 Value Indicator
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
Format: Signed Print
Year: 1998
Size: H 48cm x W 42cm
Edition size: 35
Signed: Yes
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Track auction value trend
David Hockney's Dog Etching No. 10 is a valuable piece, estimated to be worth between £21,000 and £30,000. This signed etching, created in 1998, has only been sold 5 times at auction to date, predominantly in the United States. The hammer price has consistently reached £24,812 as of July 2023, with the average return to the seller being an impressive £21,090. This artwork has shown a remarkable increase in value, boasting an average annual growth rate of 44%. The first sale at auction was in May 2009, making it a relatively recent addition to the market. With an edition size limited to just 35, this artwork is a rare find for any collector.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2023 | Christie's New York - United States | Dog Etching No. 10 - Signed Print | |||
| October 2017 | Phillips New York - United States | Dog Etching No. 10 - Signed Print | |||
| April 2015 | Doyle New York - United States | Dog Etching No. 10 - Signed Print | |||
| May 2010 | Wright - United States | Dog Etching No. 10 - Signed Print | |||
| May 2009 | Bonhams San Francisco - United States | Dog Etching No. 10 - Signed Print |
Meaning & Analysis
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 series tend to show Hockney’s beloved dachshunds, Stanley and Boodgie sleeping (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 sausage dog shape. Here we see one of the dogs resting on the arm of a sofa, his pointed face turned towards the floor which echoes the fine lines of the dog’s fur. An intimate portrait, this etching conveys the artist’s love for his dogs who he described as ‘little people’. Hockney became particularly attached to his canine companions after losing so many of his friends to the AIDS crisis, turning the attention he bestowed upon his friends and lovers in earlier portrait series onto these very different subjects as a way of grieving.
