The Marriage
The Marriage
Signed Print
David Hockney
£6,500-£9,500 VALUE (EST.)
$12,500-$18,000 VALUE (EST.)
$11,000-$16,000 VALUE (EST.)
¥60,000-¥80,000 VALUE (EST.)
€7,500-€11,000 VALUE (EST.)
$60,000-$90,000 VALUE (EST.)
¥1,130,000-¥1,650,000 VALUE (EST.)
$8,000-$12,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Intaglio, 1962
Signed Print Edition of 75
H 28cm x W 38cm
Your collection tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
Track value
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| August 2020 | Wright - United States | The Marriage - Signed Print | |||
| June 2020 | Germann Auctions - Switzerland | The Marriage - Signed Print | |||
| February 2019 | Sotheby's Online - United Kingdom | The Marriage - Signed Print | |||
| September 2016 | Sotheby's Online - United Kingdom | The Marriage - Signed Print | |||
| June 2015 | Karl & Faber - Germany | The Marriage - Signed Print | |||
| June 2014 | Ketterer Kunst Hamburg - Germany | The Marriage - Signed Print | |||
| November 2011 | Bonhams New Bond Street - United Kingdom | The Marriage - Signed Print |
Meaning & Analysis
This signed print by internationally venerated British artist David Hockney is from 1962. Issued in an edition of 75, it depicts a couple seen in profile and is a printed study for the larger painting, First Marriage (A Marriage Of Styles 1).
This signed print by much loved British artist David Hockney is from 1962 – a year marked by the artist’s graduation from London’s prestigious art school, the Royal College of Art (RCA). Like The Hypnotist MCA Tokyo, a print study for a larger painting named The Hypnotist, this work is a study for the painting First Marriage (A Marriage Of Styles 1). Depicting a couple in profile, the work makes use of the child-like and cartoon-esque style characteristic of Hockney’s depiction of the human form during this period. The female figure wears earrings which echo the concentric forms of her headband and Hockney’s caricature-like rendering of her breasts. Behind the couple is a simplistic portrayal of a palm tree – a recurring feature of Hockney’s 1960s etchings, as in Pacific Mutual Life (1964). The inspiration for this work came from a visit to Germany in the summer of 1962. Accompanied by an American friend, Hockney looked around East Berlin’s Pergamon Museum, where he saw his friend stand next to a seated Egyptian figure crafted in wood. One of the chief inspirations for this work is that of French Dadaist, Jean Dubuffet. Commenting on Dubuffet’s influence on his cartoon-like works of the early ‘60s, Hockney once said: ‘it was his style of doing images, the kind of childish drawings he used that attracted me.’
