David Hockney Art

David HOCKNEY The Diver (Olympische Spiele München 1972) Edition published by Edition Olympia 1972 GmbH, Munich Original from the time, no re-print or re-edition © EDITION OLYMPIA ...

Offset lithograph 11.02 x 16.54 in (28.0 x 42.0 cm) Unsigned. This is an original, vintage artist-authorised David Hockney poster print, printed in 1993. This is not a later repro...

Original vintage poster advertising the 1972 Summer Olympics in Munich (Olympische Spiele Munchen). Limited edition. This Munich Olympic poster...

Set of 2 Offset lithographs 20.87 x 25.20 in 53.0 x 64.0 cm Acquired directly from the publisher.

"Ink in the Room" is a screenprint in colors on Arches 88 paper made in 1993 by David Hockney. The work is signed and dated in pencil, lower right, "David Hockney 93". The work is nu...

"Celia Amused" is a lithograph on Toyoshi 80 paper made in 1979 by David Hockney. The work is editioned, signed, and dated in white, lower left, "11/100 David Hoickney 79". The paper...

David HOCKNEY Pool Diver Original lithograph Signature printed in the plate On paper 101 x 64 cm (c. 40 x 26 inch) Made for the Olympic Games in Munich, 1972 Excellent condition

David Hockney The Rake's Progress Silk Pocket Scarf, ca. 2020 100% silk scarf made in Italy and printed in the UK, held in the original presentation box 16 1/10 × 16 1/10 inches Bear...

Original signed poster lithograph, 1983. Edition of 150 signed and numbered impressions on Arches paper. Art and Sport portfolio: The Yugoslav Olympic Committee of the Winter Olympic...

David Hockney's Dog Days (hand signed and dated by David Hockney), 1998 Hardback monograph with dust jacket (hand signed and dated by David Hockney) Hand signed and dated "11th June ...

"Water in swimming pools changes its look more than any other form. If the water surface is almost still and there is a strong sun, then dancing lines with the color of the spectrum ...

David Hockney (b.1937) Post for Olympische Spiele München, 1972 (Baggott 34) Printed by Matthieu, Zurich, published by Edition Olympia 1972 G...

David Hockney 25th Anniversary of the Paris Review (Hand signed by David Hockney), 1981 Offset Lithograph on wove paper Pencil signed by David Hockney on the front 36 × 26 1/2 inche...

David Hockney A Year in Normandie Ashtray by David Hockney (Numbered, Limited Edition of 170), 2022 Ceramic Ash Tray 7 9/10 × 6 3/10 in 20 × 16 cm Edition of 170

David Hockney Paintings and Drawings for Parade - Metropolitan Museum (Hand Signed by David Hockney), 1981 Offset Lithograph. Hand signed by David Hockney...

David Hockney San Francisco Opera Summer Season (Hand Signed), 1982 Offset lithograph poster (hand signed by David Hockney) 39 × 34 inches Boldly signed by David Hockney on the front...

David Hockney Richard Strauss: Los Angeles Music Center Opera (Hand Signed and Inscribed), 1993 Offset Lithograph (hand signed and inscribed by David Hockney) 30 × 20 inches Signed and inscribed to Chris by Hockney in ink on the front Unframed The inscription reads "For Chris Love David Hockney" with a little flourish over the love. This is the original poster for the 1993 Los Angeles Music Center Opera production of the opera "Die Frau Ohne Schatten" by Richard Strauss, inscribed and signed by Hockney in the lower center of the poster. Hockney has, exceptionally, inscribed the poster "for Chris" and "Love" - who is Christopher Thomas Harlan...

David Hockney My Parents, from the Collection of Ileana Sonnabend, 1976 Chromogenic print 10 × 8 1/2 inches Signed in ink on the front and numbered 28/80 Unframed This vintage photog...

David Hockney Tribute to violinist Jascha Heifetz, 1988 Offset Lithograph Poster 15 × 34 inches Limited Edition of 100 Unframed (unsigned) Another example of this work was featured i...

This original lithograph and screenprint in colours is hand signed in pencil by the artist "Hockney" in the lower right image. It is also dated ‘93’ [1993] next to the signature. It ...

David HOCKNEY Swimmer, Pool Diver, 1982 Offset Lithograph Signature printed in the plate On paper 91 x 61 cm (36 x 24 inch) Made for the Olympic Games in Los Angeles, 1984 REFERENC...

David Hockney My Mother (Bridlington), 1988 Four Color Lithograph on T.H. Saunders Waterford 250 gram paper. Hand signed. Also accompanied by a separate signed Certificate of Authent...

This original home-made xerox is hand signed in pencil by the artist "David Hockney" at the lower right margin. It is dated in pencil “90” [1990] next to the signature. It is also h...

The Haunted Castle (from Six Fairy Tales from the Brothers Grimm) Etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Paper 17.5 x 12.25 in. / 45 x 31 cm Plate 14 ...

This original lithograph in sepia is hand signed in pencil by the artist "David Hockney" at the lower right margin. It is dated ‘76’ [1976] next to the signature. It is also hand num...

This original inkjet iPad drawing is hand signed in pencil by the artist "David Hockney" at the lower right margin. It is dated ‘10’ [2010] next to the signature. It is also hand nu...

David Hockney Hockney Paints the Stage (Hand signed and inscribed with doodle of French flag and embellishments), 1983 Softback monograph (hand signed and inscribed in marker, with e...

David Hockney Hockney's Alphabet, 1991 26 color lithographs in Fine Art Cartridge paper bound in quarter vellum with handmade Fabriano Roma paper sides, housed in matching box; signe...

David Hockney XVI RIP ARLES (Hand signed, inscribed and dated by David Hockney), 1985 Offset lithograph poster Hand signed and inscribed with dateline London, 1985 by David Hockney o...

David Hockney Dessins et Gravures, 1975 Offset lithograph and lithograph on cream colored paper Pencil signed and numbered 185/450 by David Hockney lower right front Vintage metal frame...

A YEAR IN NORMANDIE, 2022 Ceramic 16 x 20cm Edition of 170

David Hockney New Work With A Camera (Hand Signed), 1983 Offset Lithograph Poster Hand signed by the artist on lower right front 39 × 24 1/2 inches Unframed This offset lithograph p...

David Hockney The Prisoner, for Amnesty International, 1977 Color Offset Lithograph Hand signed, numbered 17/100 and inscribed by the artist on the lower right front Elegant hand mad...

David Hockney Grimms' Fairy Tales (Hand Signed), 1996 Offset Lithograph Poster Boldly signed in ink marker on the top front 16 1/2 × 11 1/2 inches Unframed This signed offset lithogr...

Xerox copy of facsimile drawing in 16 parts Unknown edition 88 x 142 cm (35.1 x 56 in) (Frame 99.5 x 155.5 x 4.3 cm / 39.2 x 61.2 x 2.1 in) Printed initials on the front Conditi...

David Hockney Vide-Poche, 2020 Hand-cast, fine bone china ash-tray 6 3/10 × 7 9/10 in 16 × 20 cm Edition of 200 on accompanying pamphlet, housed within the original box.

David Hockney Los Angeles Music Center Opera Poster (Hand signed by Hockney + 40 artists), 1987 Off-set Lithograph Poster The signatures on the poster include David Hockney + 40 othe...

Hockney, David. CELIA ADJUSTING HER EYELASH. Scottish Arts Council 837, Gemini DH79-904. Lithograph, 1979. Edition of 100, plus 16 Artist's Proofs. signed, dated and numbered in gree...

David Hockney- Celia Reclining Lithograph, 1979 Signed and dated in pencil. Un unnumbered copy apart from the numbered edition of 100 (& 24 Artist proofs). Inscribed in pencil to ver...

David Hockney Hockney Paints the Stage (inscribed to Walker Museum trustees), 1983 Acrylic, watercolor and ink on paper. (Signed and inscribed by David Hockney. Also signed and inscribed by director of the Walker Art Museum, Martin Friedman...

Offset lithograph on Paper 27.56 x 32.83 in (70.0 x 83.4 cm) This piece is a vintage artist-authorised David Hockney poster printed in 1988. It is not a recent reproduction.

Gorge d'Incre (from Some More New Prints), 1993 Lithograph from 11 aluminium plates and screenprint from 8 screens on Arches 88 wove paper 27 × 21 1/2 in 68.6 × 54.6 cm Limited Edit...

Artist: David Hockney Title: A Hollywood Collection Year: 1965 Medium: Offset lithograph in colors, with Screenprint, 1965, on wove paper Size: 30.25 x 22.25 Inches - 76.5 x 56.1 cm. Edition of 85 (not numbered) Signed and dated 66 in pencil by the artist. Comes with a Letter of authenticity and is guaranteed in perpetuity. Condition: In Excellent condition. A Hollywood Collection (Baggot 8) Offset lithograph in colors, with Screenprint, 1965, on wove, the publicity poster for the series "A Hollywood Collection", published by Editions Alecto. Past auction...

Vintage Exhibition Poster 17.01 x 24.49 in (43.2 x 62.2 cm) This is an authentic artist-authorised vintage David Hockney poster, printed in 1981. This is not a later reproduction.

David Hockney (British, b. 1937), 'David Hockney -The Tate Gallery - Travels with Pen, Pencil and Ink, Drawings and Prints, but no paintings, 1961 - 1979'...

Offset lithograph with a yellow silk screen overlay on 170gsm paper 35.20 x 10.00 in (89.4 x 25.4 cm) From a limited edition of 3,000. Comes with the publisher Certificate of Authe...

DAVID HOCKNEY b.1937 born in Bradford, United Kingdom 1937 (British) Title: A Moving Still Life, from: The Blue Guitar, 1976 Technique: Original Hand Signed and Numbered Etching an...

Hand cast Fine Bone China dish in colours 7 9/10 × 6 3/10 × 1 3/5 in 20 × 16 × 4 cm Edition of 200

Rumpelstizchen, the antagonist of the Grimm Brothers' eponymous fairy tale, is pictured here at the moment of his escape from the queen. After helping a desperate maiden spin straw into gold in exchange for a promise, he has returned to claim that now-queen's first-born child. Her only hope is to guess his name, and when she speaks it aloud, he flies into a rage and escapes on a soup ladle. Hockney emphasizes the creature's diminutive stature by placing him on an outsized spoon against a menacing, inky background. There's a sense of a set or stage, of puppetry or of silhouettes, that is enhanced by how the artist has defined the cooking fire in shades of grey that look like layered cutouts. Sheet from "Rumpelstizchen” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Riding Around on a Cooking Spoon" etching and aquatint on W S Hodgkinson paper watermarked "DH" and “PP" Etching 6.25 x 9.8 in. / 16 x 25 cm Paper 17.5 x 12.25 in / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...

Sheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “Rapunzel, Rapunzel let down your Hair” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 10.5 × 9.85 in. / 26.7 × 25 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. Perhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. Hockney illustrates this scene with incredible texture detail: layers of aquatint defining the soft forest floor, delicate hatching on the horse's haunch, the tower's tight crosshatching, and of course the lyrical gesture of Rapunzel's hair which cascades from the upper right corner. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...

Perhaps the most famous story from the Grimm Brothers, Rapunzel spins the tale of a beautiful young princess locked away by an evil sorceress. Captured in this scene is the moment a King's son came across the tower and fell in love with her sweet singing, beseeching her: 'Rapunzel, Rapunzel, Let down your hair to me.' Though the sorcerer banishes Rapunzel and maims the prince, they are of course ultimately reunited to live happily together. This print pictures Rapunzel's tower prison with her cascading hair nearly reaching the forest floor. Hockney's tight crosshatching enhances the menacing form of the tower, contrasted with the dense, soft grass and the elegant gesture of her hair. Sheet from “Rapunzel” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “The Tower Had One Window” etching and aquatint on W S Hodgkinson paper watermarked "DH" and "PP" Etching 13.5 x 6.25 in. / 34 x15.7 cm Paper 17.5 x 12.25 in. / 45 x 31 cm Unsigned: apart from the published edition of 400 books and 100 portfolios. This is one of eleven images recently found in our archive which we have decided to make available. There is one only of each image. This print from our publisher's archives is one of thirty-nine etchings from David Hockney’s 1969 "Six Fairy Tales from the Brothers Grimm". Hockney worked on this series with Paul Cornwall-Jones at Petersburg Press over the course of a year. 400 books and 100 portfolios plus artist’s proofs were printed. The artist illustrated six stories: 'The Little Sea Hare', 'Fundevogel', 'Rapunzel', 'The Boy who left Home to learn Fear', 'Old Rinkrank' and 'Rumpelstilzchen'. According to Hockney, "They're fascinating, the little stories, told in a very, very simple, direct, straightforward language and style, it was this simplicity that attracted me. They cover quite a strange range of experience, from the magical to the moral." He was inspired by earlier illustrators of the tales, including Arthur Rackham and Edmund Dulac, but Hockney reimagined the stories for a modern audience. The frontispiece for the project pictures Catherina Dorothea Viehmann, the elderly German woman who recounted fairy tales to the Grimm brothers when they were in their late twenties. In Hockney's words: “The stories weren’t written by the Brothers Grimm…they came across this woman called Catherina Dorothea Viehmann, who told 20 stories to them in this simple language, and they were so moved by them that they wrote them down word for word as she spoke.” Hockney drew the German woman in the style of Dürer, formally posed yet naturalistic against an impeccably crosshatched swath of grey. Hockney wrote about the surreal plots contained in the Brothers Grimm tales: “…the stories really are quite mad, when you think of it, and quite strange. In modern times, it’s like the story of a couple moving into a house, and in the next door’s garden they see this lettuce growing: and the wife develops this craving for the lettuce that she just must have and climbs over to pinch it, and the old woman who lives in the house next door says well, you can have the lettuce if you give me your child, and they agree to it. And if you put it into terms like this and imagine them in their semi-detached house agreeing to it all, it seems incredible.” Hockney enhanced this unbelievable quality with his illustrations which traverse inky, dense areas of intense crosshatching and minimalist line work. Rather than serving as direct interpretations of the plot, the images capture moments and feelings. Some portray the magic yet mundane -- Rapunzel's tiny face gazing placidly at a well-tended garden, or project danger and unease as in The Haunted Castle, with its citadel perched atop craggy rocks, dramatically lit against a dark sky. Hockney's sense of humor comes through in Cold Water About to Hit the Prince, in which a man tucked into bed stares straight at a rush of water drawn with a splash (this technique is likely Spit Bite, and the resultant bold spattered brushstroke contrasts beautifully with the rest of the carefully crosshatched image). A Wooded Landscape, with its lush textures, conveys the bucolic setting of a fairy tale and the potential danger hidden within the woods -- the viewer is left to wonder who lives on the hilltop in that diminutive cabin. These etchings defy the conventions of beautiful fairy tale illustrations...

Sheet from “The Little Sea Hare” story (from Six Fairy Tales from the Brothers Grimm) Text printed letterpress and “The Boy hidden in a Fish" e...

David Hockney David Hockney at Castelli Graphics, 1981 Offset Lithograph poster 20 × 16 inches Unframed Rare 1981 poster published on the occasion of the r...

David Hockney David Hockney. 220 for 2020. Art Edition A No. 1–100 ‘Spilt Ink with Tests', 2021 11-color inkjet print on cotton-fiber archival paper 45.7 × 102.6 cm (18 × 40.4 in) Signed, numbered and dated Edition number 47 In mint condition Unframed Hockney made four different prints, each in an edition of 100, to accompany 400 copies of the book(s). Edition B is numbered, as here, 101-200. Edition A, C and D each have different images for each of their editions, numbered respectively, 1-100, 201-300, and 301-400. There were another 1,620 “collector edition” books numbered in Volume 1, numbered 401-2,200 From a small, picturesque farmhouse in the rich fields and meadows of the northern French region of Normandy, Hockney followed and recorded the changing seasons throughout the COVID-19 pandemic. For the past decade, Hockney’s medium of choice has been the iPad and it was this technological instrument, he used to spontaneously depict impressions of the Norman landscape surrounding him. The two-year project entitled “220 for 2020” documents the passage of time by portraying the first spring blossoms, the smell of summer, the saturated colours of autumn, and the stark shapes of dark branches in winter time. This poetic undertaking represented a lifeline for the artist, and offered its viewers a message of hope in unprecedented times. As part of this project, Hockney included drawings from his “La Grande Cour, Rumesnil, Normadie, 26 Juli 2019”, sketchbook. These almost autobiographical accounts started in the vicinity of the artist’s Los Angeles home...

11 & 8 colour inkjet prints on cotton fiber archival paper Edition of 100 (Each) 45.7 x 102.6 cm (print), 32 x 44.5 x 8 cm (blue book), 20.5 x 28.5 x 2 cm (black book) Signed and da...

David Hockney 220 for 2020. Art Edition D No. 301–400 ‘My Second Drawing of Beuvron-en-Auge’, 2021 11-color inkjet print on cotton-fiber archival paper 45.7 × 102.6 cm (18 × 40.4 in) Signed, numbered and dated Edition number 347 In mint condition Unframed Hockney made four different prints, each in an edition of 100, to accompany 400 copies of the book(s). Edition D is numbered, as here, 301-400. Edition A, B and C, each have different images for each of their editions, numbered respectively, 1-100, 101-200, and 201-300. There were another 1,620 “collector edition” books numbered in Volume 1, numbered 401-2,200. From a small, picturesque farmhouse in the rich fields and meadows of the northern French region of Normandy, Hockney followed and recorded the changing seasons throughout the COVID-19 pandemic. For the past decade, Hockney’s medium of choice has been the iPad and it was this technological instrument, he used to spontaneously depict impressions of the Norman landscape surrounding him. The two-year project entitled “220 for 2020” documents the passage of time by portraying the first spring blossoms, the smell of summer, the saturated colours of autumn, and the stark shapes of dark branches in winter time. This poetic undertaking represented a lifeline for the artist, and offered its viewers a message of hope in unprecedented times. As part of this project, Hockney included drawings from his “La Grande Cour, Rumesnil, Normadie, 26 Juli 2019”, sketchbook. These almost autobiographical accounts started in the vicinity of the artist’s Los Angeles home...

Very nice original poster of David Hockney, Images and thoughts for Vogue magazine at the Claude Bernard gallery. David Hockney was born in 1937 in Brad...

David Hockney's 'Christmas Card' is a color laser print created in 1990. Decorated with beautiful colours, framed and in great condition. Please let u...