View full screen - View 1 of Lot 430. DAVID HOCKNEY | UNTITLED.







dated June '68

pen on paper

Sheet: 11 by 13⅞ in. (27.9 by 35.4 cm.)

Framed: 18¼ by 21⅛ in. (46.4 by 55.5 cm.)

This work is in very good condition overall. The sheet is hinged along the upper corner of the reverse to the backing board. There is a slight undulation to the sheet, due to the artist's chosen media. There are some faint scattered artist handling marks, visible upon close inspection. Framed under glass.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Gallery Yves Arman, New York

Christie's New York, 2 November 1984, Lot 198

Private Collection, New York (acquired at the above sale)

“But if that early self portrait is unusual in its hesitancy, it may provide a clue to the passion that has been at the core of Hockney’s success: that to understand that world he needed to understand himself and those closest to him – family, friends and lovers. And his way to achieve this has been through portraiture. Portraits are not only central to his investigation of the world, they have also been a crucial part of his many creative endeavors, including in the spheres of perspective, colour theory and aesthetics.”


(Howgate & Shapiro, David Hockey Portraits, New Haven 2006, p. 7)