£10,500-£16,000 VALUE (EST.)
$20,000-$30,000 VALUE (EST.)
$18,000-$27,000 VALUE (EST.)
¥90,000-¥140,000 VALUE (EST.)
€12,000-€18,000 VALUE (EST.)
$100,000-$160,000 VALUE (EST.)
¥1,810,000-¥2,760,000 VALUE (EST.)
$13,000-$20,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 75
H 90cm x W 70cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|December 2021||Bonhams New Bond Street - United Kingdom||Mo Asleep - Signed Print|
|September 2021||Bonhams Knightsbridge - United Kingdom||Mo Asleep - Signed Print|
|March 2021||Christie's New York - United States||Mo Asleep - Signed Print|
|December 2020||Forum Auctions London - United Kingdom||Mo Asleep - Signed Print|
|December 2020||Koller Zurich - Switzerland||Mo Asleep - Signed Print|
|September 2020||Bonhams Los Angeles - United States||Mo Asleep - Signed Print|
|June 2020||Swann Auction Galleries - United States||Mo Asleep - Signed Print|
An example of a unique print making method named intaglio, Mo Asleep is a signed print by British artist David Hockney belongs to a limited edition of 75. Part of Hockney’s intimate Erotic Prints series, this study of Mo McDermott — the artist’s longest-serving studio assistant — offers a candid depiction of the male form.
This print was created in 1971 – a year in which David Hockney completed some of his most well-known paintings, such as Mr. and Mrs. Clark and Percy, Portrait Of Sir. David Webster, and Sur La Terrasse. Part of the Erotic Prints series, this work was made in a year which also saw Hockney travel widely, to destinations such as Morocco, Southwest France, Hawaii and even Japan. Despite Hockney’s itinerance during this period, the visible influence of California persists in much of the work produced in what became a crucial time in his artistic career. Mo Asleep is no exception to this. Depicting his long-serving assistant, Mo McDermott, as he sleeps on a patterned deckchair, one cannot help recall the swimming pools which feature in many of Hockney’s most famous works, namely A Bigger Splash (1967). With the bold floral patterns of the deckchair cover lending the piece of furniture a certain prominence, this print omits Mo’s immediate surroundings. A visual reference to travel and relaxation, Mo Asleep partially illuminates Hockney’s life away from the canvas or etching plate, exposing the intimacy of his personal and professional relationship with Mo in the process. Indeed, Hockney once remarked that Mo — one of his most-depicted subjects — was ‘his second greatest fan’.