Dog Etching No. 3
Dog Etching No. 3
Signed Print
David Hockney
£19,000-£29,000Value
Indicator
$35,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥170,000-¥260,000 Value Indicator
€22,000-€35,000 Value Indicator
$190,000-$290,000 Value Indicator
¥3,540,000-¥5,400,000 Value Indicator
$24,000-$35,000 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 30cm x W 35cm
Edition size: 35
Signed: Yes
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Track auction value trend
The value of David Hockney’s Dog Etching No. 3 is estimated to be worth between £19,000 to £29,000. This etching, created in 1998 and signed by the artist, has only been sold once at auction, which was in the United States on 22nd April 2019. The hammer price for this sale was £8,338. The average return to the seller was £7,087, showing an impressive average annual growth rate of 25%. The edition size of this artwork is limited to just 35, making it a rare and valuable piece for any collector.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2019 | Phillips New York - United States | Dog Etching No. 3 - Signed Print |
Meaning & Analysis
Hockney’s portraits of his friends from the ’70s are among his most famous works in print, however in the ’90s he turned to a different kind of subject. Grieving the loss of many of his friends and lovers to the AIDS crisis he began to focus on his two daschunds, Stanley and Boodgie who were his constant companions. In this series of etchings he portrays them at rest, with all the tenderness and attention he bestowed upon his human subjects. Here we see one of the dogs, its wiry fur rendered in beautiful cross hatched marks that he would have sketched out on the etching plate while drawing from life. The dog is shown sleeping on a cushion, as with many of the other prints in the portfolio, which is seemingly placed on a rug that with its striated lines could also be a body of water. After more than 30 years of using the medium, which he first picked up at the Royal College of Art because it was cheaper than using painting materials, here Hockney shows his mastery of it, employing different styles of marks to bring range to this monochrome work which is suffused with intimacy and tranquility.
