Ann In The Studio
Ann In The Studio
Signed Print
David Hockney
£1,950-£2,900 VALUE (EST.)
$3,700-$5,500 VALUE (EST.)
$3,200-$4,800 VALUE (EST.)
¥17,000-¥26,000 VALUE (EST.)
€2,250-€3,350 VALUE (EST.)
$19,000-$28,000 VALUE (EST.)
¥350,000-¥530,000 VALUE (EST.)
$2,400-$3,550 VALUE (EST.)
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, 1984
Signed Print Edition of 61
H 78cm x W 106cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2022 | Doyle New York - United States | Ann In The Studio - Signed Print | |||
| October 2021 | Wright - United States | Ann In The Studio - Signed Print | |||
| July 2021 | Christie's New York - United States | Ann In The Studio - Signed Print | |||
| September 2020 | Sotheby's Online - United Kingdom | Ann In The Studio - Signed Print | |||
| February 2020 | Rago Arts and Auction Center - United States | Ann In The Studio - Signed Print | |||
| February 2020 | Wright - United States | Ann In The Studio - Signed Print | |||
| March 2019 | Forum Auctions London - United Kingdom | Ann In The Studio - Signed Print |
Meaning & Analysis
This signed intaglio is an etching with aquatint by British artist David Hockney is part of the artist’s Portraits collection. Issued in 1984 in an edition of 60, the work depicts Hockney’s acquaintance Ann. Like all of Hockney’s portraits, his subject is sitting down, reflecting a close, well-acquainted mood.
This signed Intaglio by renowned British artist David Hockney was released in 1984 in an edition of 60. As the title suggests, the work depicts the artist’s acquaintance Ann in his studio, the exclusive location of all of his portraiture works. Ann sits centrally in the foreground as Hockney’s studio sprawls in the background on either side. Relaxed with one hand propping up her head as she leans back into the chair, the sitter’s gaze is not on the viewer, but on the artist, suggesting the two are engaged in conversation whilst her portrait is being captured. Ann’s features are reduced to simplistic lines, yet Hockney’s skill lies in his ability to still capture a great likeness. Executed in a Picasso-esque style, the simplicity of this line drawing does not conceal its intimacy and emotion. Throughout the Portraits collection, and indeed Hockney’s entire oeuvre, the artist’s style continues to change, reflecting the limitlessness of his artistic abilities.
