Modern British Prints Market Report 2023
The Hypnotist MCA Tokyo - Signed Print by David Hockney 1963 - MyArtBroker

The Hypnotist MCA Tokyo
Signed Print

David Hockney

£9,500-£14,000 VALUE (EST.)

$18,000-$27,000 VALUE (EST.)

$16,000-$23,000 VALUE (EST.)

¥80,000-¥120,000 VALUE (EST.)

11,000-16,000 VALUE (EST.)

$90,000-$130,000 VALUE (EST.)

¥1,720,000-¥2,540,000 VALUE (EST.)

$11,500-$17,000 VALUE (EST.)

-9% AAGR (5YR)

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.

Intaglio, 1963
Signed Print Edition of 50
H 50cm x W 50cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
June 2019Bonhams New Bond Street - United KingdomThe Hypnotist MCA Tokyo - Signed Print
April 2017Sotheby's Online - United KingdomThe Hypnotist MCA Tokyo - Signed Print
February 2012Christie's London - United KingdomThe Hypnotist MCA Tokyo - Signed Print
April 2003Christie's London - United KingdomThe Hypnotist MCA Tokyo - Signed Print

Meaning & Analysis

This signed print by much loved and internationally respected British artist David Hockney is an example of one of the artist’s Early Prints. It was issued in an edition of 50 in 1963. In keeping with many other of the artist’s early ‘60s œuvre, the work depicts two semi-abstracted figures and directly recalls the cartoon-like approach of etchings such as My Bonnie Lies Over The Ocean or Kaisarion With All His Beauty. A study for the 1963 painting, The Hypnotist, The Hypnotist MCA Tokyo sees Hockney begin his lifelong experimentation with themes of theatricality and the literal and metaphorical notion of staging – two semi-philosophical pre-occupations which would see the artist go on to produce a vast array of stage and costume designs for, amongst others, the Glyndebourne Opera Festival in Lewes, East Sussex, and New York’s Metropolitan Opera. Echoing some of the artist’s later works, such as The Acrobat (1964), and the dramatic Hockney And The Stage collection, the print is marked by the presence of two rhetorical motifs: the curtain and the stage. In the case of the former, a simple profile of a figure stands below a small curtain. Cut off from the rest of the work by virtue of their confinement within a rectangular space, this figure appears to play subject to a live hypnosis enacted by the menacing figure to the right of the composition. Both perform for us, standing atop a black block of ink that evokes the stage.

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