Two Boys Aged 23 Or 24
Two Boys Aged 23 Or 24
Signed Print
David Hockney
£6,000-£9,000 VALUE (EST.)
$11,000-$17,000 VALUE (EST.)
$10,000-$15,000 VALUE (EST.)
¥50,000-¥80,000 VALUE (EST.)
€7,000-€10,000 VALUE (EST.)
$60,000-$90,000 VALUE (EST.)
¥970,000-¥1,450,000 VALUE (EST.)
$7,500-$11,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Intaglio, 1966
Signed Print Edition of 75
H 35cm x W 22cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2019 | Lempertz, Cologne - Germany | Two Boys Aged 23 Or 24 - Signed Print | |||
| January 2019 | Lempertz, Cologne - Germany | Two Boys Aged 23 Or 24 - Signed Print | |||
| June 2015 | AAG: Arts & Antiques Group - Netherlands | Two Boys Aged 23 Or 24 - Signed Print | |||
| December 2013 | Christie's London - United Kingdom | Two Boys Aged 23 Or 24 - Signed Print | |||
| November 2011 | Bonhams New Bond Street - United Kingdom | Two Boys Aged 23 Or 24 - Signed Print | |||
| November 2009 | Bonhams San Francisco - United States | Two Boys Aged 23 Or 24 - Signed Print | |||
| June 2008 | Bonhams New Bond Street - United Kingdom | Two Boys Aged 23 Or 24 - Signed Print |
Meaning & Analysis
Perhaps the most famous print form Hockney’s celebrated series Illustrations For Fourteen Poems By C.P. CavafyTwo Boys Aged 23 Or 24 sees the artist returning to a dominant subject in this portfolio, that of two men lying naked in bed. In contrast to works such as The Beginning and In Despair, however, here the men are shown lying on their fronts, their heads resting on the pillow, perhaps engaged in an intimate post coital moment, perhaps sleeping. Unlike in other works here the sheets are patterned with dark rings, suggesting lifebuoys floating on a wavy sea. They seem unaware of being watched, presenting a contrast to other works in which the figures appear stiffly posed under the artist’s gaze. As with other works the background is kept to a minimum, the wall almost bare except for an area of shadow rendered in crosshatched marks. Overtly intimate, the work celebrates queer love by depicting a moment of tenderness and presents a stark contrast to Cavafy’s poem, which it accompanies, in which homosexual desire was hidden behind veiled references because of its illicit nature. Working in 1967 Hockney was able to bring this desire to the surface and put this pair of lovers centre stage.
