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David Hockney
Maurice Payne David Hockney seated black and white portrait drawing of young man




Black and white etching portrait of David Hockney's friend and printer, Maurice Payne. Minimalist line drawing features Payne's vintage 1970s style, with bohemian long hair, bellbottoms, and a tight collared shirt. Paper 35.75 x 28 in. Image 27 x 21 in. Etching on J. Green mould made paper. Edition 75: this impression 73/75 (aside from 16 artist's proofs). Signed by the artist and dated 71 lower right in pencil; numbered 73/75 lower left in pencil. This black and white etching on fine paper features a three-quarter length profile portrait of the master printer Maurice Payne, seated, looking to the viewer’s right. Payne slumps slightly with crossed arms in his chair. His long, shaggy hair, flared pants, and close-fitting collared shirt typify 1970s style. The printer’s unbuttoned polo and tousled hairstyle convey a youthful, nonchalant attitude, but Payne’s distant stare and tightened throat bely a pensive melancholy. Maurice was an etching printer at Petersburg Press in London. An occasional Hockney subject, Payne described sitting for the famed artist: “His board and easel is probably only 30 inches away from your face and his face. There's no doubt you are thinking what is he thinking, and what are you thinking[sic]. And then if I'm just sitting there concentrating on him concentrating, you're nearly feeling as though you're meditating.” This portrait balances the spontaneity of a sketch with the gravity of a portrait. Payne’s hair is a flourish of lines, while Hockney has artfully detailed the folds of clothing to outline the printer’s lanky physique. Hockney pairs long, elegant lines with hatching and stippling to define faint areas of shadow: Payne’s stubble, arm hair, and bushy brows. Hockney has been an avid portraitist throughout his career, drawing and painting subjects ranging from his mother and Celia Birtwell, his muse over many decades, to art dealer Larry Gagosian and artists such as John Baldessari. He often depicted his models seated relaxed in a chair, as seen in this portrait. Catalogue reference: David Hockney Prints 1954-77, The Scottish Arts Council and Midland Group in association with Petersburg Press, 1979, no. 123. David Hockney: Prints 1954-1995, Museum of Contemporary Art, Tokyo 1996, no. 115. A copy of this print is in the collections of the Metropolitan Museum of Art, New York; and the British Museum, London.


  • Creator
    David Hockney (1937, British)
  • Creation Year
  • Dimensions
    Height: 35.75 in. (90.81 cm)Width: 28 in. (71.12 cm)
  • Medium
  • Movement & Style
  • Period
  • Condition
    Hinges on verso and natural aging of paper. 1 x 1/4 inch area lower left in margin with a faint mark and slightly effaced paper. 1/8" tear, middle right edge. Several pinpoint marks across sheet, as photographed.
  • Gallery Location
    New York, NY
  • Reference Number
    1stDibs: LU121127346402

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    Ships From: New York, NY
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About the Artist

David Hockney

The art of David Hockney is always engaging in its pleasant ambiguities: It’s warm but somehow aloof; filled with light yet often dark and brooding in subject; simple, frank and mundane, but also ethereal and complex. The artist’s stature in the contemporary- art world is such that, in a 2011 survey of one thousand British painters and sculptors, he was named the most influential British artist of all time. Hockney grew up in Bradford, in the northern English county of Yorkshire, studying at the Bradford School of Art from 1953 to ’57, and at the Royal College of Art in London from 1959 to ’ 1962. Though he was educated in art a time when abstraction dominated the field, Hockney stuck resolutely to figurative painting and drawing. His early paintings suggest a search for a style, veering from Expressionism to a grotesquerie suggestive of James Ensor. But Hockney found himself almost the moment he arrived in Los Angeles, in 1963. The move from the gray and rainy Britain to a world of bright sunshine and sparkling water brought Hockney a sense of freedom and an artistic epiphany. He would spend most of the next five years in L.A., painting luminous pictures, such as A Bigger Splash (1967), of things that made him happy: swimming pools, manicured lawns, palm trees, stucco buildings and luxuries like shower stalls. Hockney also painted people, almost always his friends. His California portraits such as Beverly Hills Housewife (1966) are considered to be his finest work. They are at once grandly scaled, intimate and poetic. In the 1970s, Hockney moved back to Britain and spent much of his time on photography and printmaking. He returned to painting in the 1980s, and to subjects like still lifes, seascapes and portraits. Hockney has always been fascinated by the use of technology in art — he’s credited with inventing the technique of joining Polaroid photos in a collage to form a panoramic picture — and has been using the Brush app to paint on an iPad. Because he is prolific and works in a wide range of mediums, Hockney’s art is available at many price points. His consistently striking and provocative work should have a place in any comprehensive collection of contemporary art.
About the Seller
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Located in New York, NY
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