Contrejour in the French Style

Name: DAVID HOCKNEY (b. 1937)
Brand: Contrejour in the French Style
Price: 45000.00 GBP
Availability: SoldOut

Price Realised GBP 56,700

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DAVID HOCKNEY (b. 1937)

Contrejour in the French Style

Price Realised GBP 56,700

Details Lot Essay Related Articles More from

DAVID HOCKNEY (b. 1937)
Contrejour in the French Style
etching and aquatint in colours, 1974, on wove paper, signed and dated in pencil, numbered 30/75 (there were also 18 artist's proofs), published by Petersburg Press, New York and London, with the artist's copyright blindstamp
Plate 742 x 738 mm.
Sheet 997 x 916 mm.

Scottish Arts Council 167; Tokyo 153
Christopher Simon Sykes, Hockney: A Rake’s Progress, Random House, London, 2011, p. 283-305.

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

Please note that the reserve on this lot has been lowered.

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Lot Essay

Based on a painting of the same title (coll. Ludwig Múseum, Cologne), was inspired by a window in the Pavillon de Flore, at the south-west corner of the Louvre. 'The first time I went [to the Louvre] I saw this window with the blind pulled down and the formal garden beyond. And I thought, oh it’s marvellous! marvellous! This is a picture in itself’ (D. Hockney, quoted in: Sykes, p. 305). Hockney had relocated to Paris in 1973, a move precipitated by the souring of his relationship with his former lover Peter Schlesinger. While in Paris, Hockney had the opportunity to work with the renowned etcher Aldo Crommelynck, who had collaborated closely with Picasso. 'It was thrilling to meet somebody who’d had such direct contact with Picasso and worked with him such a lot. He taught me marvellous technical things about etching’ (D.Hockney, quoted in: Sykes, p. 285). In particular, Crommelynck instructed Hockney in colour etching, using a new method that allowed for greater spontaneity in the creation of the colour plates, the traditional process of which was notoriously technical. While the etching of follows the composition of the painting closely, Hockney re-interprets the interior scene with a range of intaglio techniques to create variations of line and texture. The speckled wallpaper, a nod to pointillism, is rendered with sugar-lift; the muted sunlight on the walls of the alcove with soft-ground etching; the golden blind and clipped lawn of the garden with aquatint; and the intricately cross-hatched parquet floor with hard-ground etching.