David Hockney, ‘Panama Hat’, 1972, Christie's

Signed and dated in pencil, numbered 31/125 (there were also 15 artist's proofs), co-published by Brooke Alexander, Inc., New York, and Petersburg Press, London, 1972, with the artist's copyright blindstamp, the full sheet, very pale light-staining, otherwise in good condition, framed
Plate, Sheet 417 x 337 mm.

From the Catalogue:
This still-life of a coat hanging off the back of a bentwood chair, with a panama hat, pipe and empty glass on the seat, depicts the personal effects of Hockney’s great friend and early champion, Henry Geldzahler (1935-1994), then curator of Twentieth Century Art at the Metropolitan Museum. Geldzahler was a regular sitter for Hockney, and in his memorable introduction to the artist’s autobiography of 1974 eloquently compares Hockney's fascination with the portrait with the cubist's love of still-life:

'Hockney has never been interested in the commissioned portrait. As he has become increasingly fascinated by exactly how things look and in finding ways to paint what he sees with greater veracity, he has turned quite naturally to drawing and painting his close friends again and again. They are his guitar, absinthe bottle and journal, the objects of his affection' (Henry Gelzahler in: David Hockney by David Hockney, Thames & Hudson, London, 1974, p. 9).

In this etching Hockney seems to be taking his friend quite literally, depicting him as a still-life.
—Courtesy of Christie's

Christie's Special Notice
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.

Scottish Arts Council 127; Tokyo 119

About David Hockney

A pioneer of the British Pop Art movement in the early 1960s alongside Richard Hamilton, David Hockney gained recognition for his semi-abstract paintings on the theme of homosexual love before it was decriminalized in England in 1967. In We Two Boys Clinging Together (1961), red-painted couples embrace one other while floating amidst fragments from a Walt Whitman poem. After moving to California at the end of 1963, Hockney began painting scenes of the sensual and uninhibited life of athletic young men, depicting swimming pools, palm trees, and perpetual sunshine. Experimenting with photography in the mid-1970s, Hockney went on to create his famous photocollages with Polaroids and snapshot prints arranged in a grid formation, pushing the two-dimensionality of photography to the limit, fragmenting the monocular vision of the camera and activating the viewer in the process. A versatile artist, Hockney has produced work in almost every medium—including full-scale opera set designs, prints, and drawings using cutting-edge technology such as fax machines, laser photocopiers, computers, and even iPhones and iPads.

British, b. 1937, Bradford, United Kingdom, based in Yorkshire, United Kingdom