Dog Etching No. 2
Dog Etching No. 2
Signed Print
David Hockney
£20,000-£30,000
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥180,000-¥280,000 Value Indicator
€24,000-€35,000 Value Indicator
$200,000-$300,000 Value Indicator
¥4,020,000-¥6,040,000 Value Indicator
$25,000-$40,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Etching
Edition size: 35
Year: 1998
Size: H 42cm x W 47cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2008 | Bonhams San Francisco - United States | Dog Etching No. 2 - Signed Print |
Meaning & Analysis
In 1995, David Hockney staged an exhibition Dog Days at Yorkshire’s Salts Mill, displaying 45 paintings of his sausage dogs, Stanley and Boodgie. Known for his steadfast preference to portray family members, lovers or close friends instead of strangers, Hockney created art that, in many ways, unveils deeply intimate dimensions of his personal experience and lifelong relationships. The 1990s works display his newfound interest in dogs, a yet another example of the personal subject matter that defines Hockney’s artistic practice.
Dog Etching No. 2 (1998) depicts the two dogs sleeping together on a pillow. A similar scene features in Hockney’s Dog 43 Poster created for the Salts Mill exhibition. While the artist’s paintings of sausage dogs are most often associated with the vibrant pastel colour palette exemplified by the exhibition poster, this etching offers a more minimalist take on the subject. The artist reduces the tender scene to a minimum detail and draws upon the contrast between the dogs’ black fur and the brightness of the pillow. With the use of only a few elements, the print evokes a sense of secure comfort and tranquillity rooted in the artist’s personal world and, at the same time, speaking to the universal human experience and feelings.
Although affectionate and lighthearted in appearance, the pet portraits are rooted deeply in the context of personal loss. Hockney started to paint his dogs after the death of his close friend Henry Geldzahler, the American curator of contemporary art. He commented in this context: “I wanted desperately to paint something loving… I felt such a loss of love I wanted to deal with it in some way. I realised I was painting my best friends. [...] They’re like little people to me. The subject wasn’t dogs but my love of the little creatures.”
