David Hockney
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image 1
Mark, Beppu, Suginoi Hotel

1971
Medium: Colored pencil and ink on paper
Sheet size: 17 x 14 inches
Initialed, titled, and dated, lower margin

Price upon request

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image 2
Rue de Seine

1972
Medium: Etching and aquatint
Sheet size: 35.08 x 27.9 inches
Printer: Shirley Clement, Print Shop, Amsterdam
Publisher: Petersburg Press, London and New York
Edition size: 150, plus proofs
Catalogue raisonné: MCAT 111
Signed, dated, and numbered, lower margin 

Price upon request

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image 3
Celia in the Director's Chair

1980
Lithograph
Sheet size: 42 x 38 inches
Printer: Gemini G.E.L.
Publisher: Gemini G.E.L., Los Angeles, CA
Edition size: 100, plus proofs
Signed, dated, and numbered, lower margin

$45,000

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image 4
Cleanliness is Next to Godliness

1964

Medium: Screenprint on cartridge paper

Sheet size: 35 3/4 x 23 1/4 inches

Edition size: 40, plus proofs

Printer: Kelpra Studios, London

Publisher: Institute of Contemporary Arts, London

Catalog raisonné: MCAT 39

Signed, dated, and numbered in pencil, lower margin

$25,000

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Hockney was born in Yorkshire, England in 1937. He first came to public prominence in the early sixties, as a post-graduate student of painting at the Royal College of Art in London. He experimented with numerous styles and became one of the most important portraitists of his era, renowned for depictions of family and people he met in his extensive travels. His work demonstrates a wish to uphold the human figure as a fit subject of painting, as well as an interest in imagery drawn from the urban environment. Despite his shouting 'I am not a Pop artist' during a private view party in 1962, Hockney's student work is conventionally seen as contributing to the development of Pop Art in Britain. In 1963, he had his first solo show at the Kasmin Gallery in London.

In 1964, Hockney moved to Los Angeles. In that year a swimming pool first appeared in the seminal painting. Over the next several years, portraiture and photography primarily occupied the artist, and he developed an intimate and powerful naturalism in this period.

Hockney abandoned painting for a time in the mid-seventies to concentrate on drawing and print-making. Not many paintings were produced during the early eighties either, the artist preferring to spend his time constructing collages from photographs. These photo-collages were recently exhibited in a retrospective of the artist's photography at the Museum of Contemporary Art, Los Angeles.

Hockney's originality as a printmaker was apparent by the time he produced A Rake's Progress, a series of 16 etchings conceived as a contemporary and autobiographical version of William Hogarth's visual narrative. Hockney's large body of graphic work, concentrating on etching and lithography, in itself assured him an important place in modern British art.

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