Johnny And Lindsay
Johnny And Lindsay
Signed Print
David Hockney
£1,250-£1,900Value
Indicator
$2,400-$3,650 Value Indicator
$2,150-$3,300 Value Indicator
¥11,500-¥17,000 Value Indicator
€1,450-€2,200 Value Indicator
$12,500-$19,000 Value Indicator
¥230,000-¥360,000 Value Indicator
$1,600-$2,400 Value Indicator
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.
Lithograph, 1979
Signed Print Edition of 54
H 75cm x W 110cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Online - United Kingdom | Johnny And Lindsay - Signed Print | |||
| March 2023 | Sotheby's New York - United States | Johnny And Lindsay - Signed Print | |||
| May 1996 | Christie's New York - United States | Johnny And Lindsay - Signed Print |
Meaning & Analysis
Similarly to another work from David Hockney’s Tyler Graphics 1979 Portfolio, Joe With David Harte, here the artist returns to a composition featuring figures in opposite corners of a room. In the foreground we find a man in a striped t-shirt smoking a cigarette, his eyes seeming to meet our gaze and yet shifted slightly to the left. His posture is reclined and he appears at ease in contrast to the woman in the background who sits stiffly in her chair, her hands folded in her lap, reminding us of Whistler’s mother. Her features are more difficult to make out and are also reminiscent of Fauvist portraits by Matisse and Vlaminck. Rendered in orange and red ink the work is notable for its painterly style which belies its medium. Made using a brush dipped in tusche (diluted lithographic ink), this technique – originally adopted by Toulouse Lautrec – allowed Hockney to recreate the loose lines of his watercolours or pen and ink sketches, marking a strong contrast with his etchings which are more easily identifiable as prints. Here, with just a few lines and areas of shade, Hockney is able to convey the enigmatic expression of his sitter Johnny’s face, in a work that is by turns striking and unsettling.
