David Hockney (B. 1937), Illustrations for Six Fairy Tales from the Brothers Grimm, 1969-70. Complete portfolio of 39 etchings, some with aquatint, with the additional suite of 39 etchings signed and numbered in pencil, inscribed ‘portfolio’ and numbered 56/100 (there were also fifteen artist’s proofs plus a book edition of 460 copies), 25 1/2 x 18 5/8 in. (650 x 475 mm.)
Richard Lloyd, International Head of Department:
‘Hockney had loved the Fairy Tales from the Brothers Grimm since childhood. The series plays with the idea of illustration, depicting stories not in the usual terms of dramatic narrative but rather as a succession of memorable static images. What might at first appear to be a fairly straightforward use of etching is, upon closer examination, a subtle and sophisticated dialogue between the four principle etching techniques: hard-ground and soft-ground etching, aquatint and drypoint.’
Edward Hopper (1882–1967), House Tops, 1921. etching signed in pencil, Image: 5 7/8 x 7 7/8 in. (149 x 200 mm.) Sheet: 8 3/4 x 10 5/8 in. (222 x 270 mm.)
Adam McCoy, Senior Specialist:
‘Hopper was one of history’s most successful reluctant printmakers. He would not take up the needle and burin until 1915, a formative period for the artist. After finding that very few galleries were willing to actively promote his paintings and watercolors, Hopper turned to working as a commercial artist and illustrator to support himself. While his paintings failed to sell, his prints were widely exhibited, sold and gained acclaim. House Tops is one of many light-hearted prints he produced, suggesting a sublime moment from looking out from an Elcar at the dynamic modern and metropolitan skyline of early 20th century New York City.’
Richard Diebenkorn (1922–1993), Indigo Horizontal, 1985. aquatint and drypoint in colors, signed and dated in pencil, numbered 24/50, Image: 23 5/8 x 35 3/4 in. (911 x 1245 mm)
Libia Elena Nahas, Specialist:
‘The Ocean Park series is a strong representation of Diebenkorn as color printmaker working in his most celebrated theme. Drawing on his experience as a cartographer, he virtually mapped the geometry of the West Coast outside his Santa Monica studio. This particular print exhibits an organized structure of lines with an atmospheric center—in addition to a topographical complexity and carefully balanced color.’
Lindsay Griffith, Associate Specialist:
“Jacqueline Picasso, née Roque, met the artist [Picasso] in the summer of 1952 and became his second wife eight years later. She was his most frequently depicted muse, her distinctive features captured in multifarious ways. John Richardson—the definitive chronicler of Picasso's life—refers to their 20 years together as ‘the two Jacqueline decades,’ a reflection of the obsession, vitality and happiness which characterized the couple's relationship.’