The Blue Guitar (frontispiece)
The Blue Guitar (frontispiece)
Signed Print
David Hockney
£1,150-£1,750
$2,250-$3,450 Value Indicator
$2,050-$3,150 Value Indicator
¥10,500-¥16,000 Value Indicator
€1,350-€2,100 Value Indicator
$11,000-$17,000 Value Indicator
¥220,000-¥340,000 Value Indicator
$1,450-$2,200 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Etching
Edition size: 200
Year: 1977
Size: H 42cm x W 34cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Forum Auctions London | United Kingdom | |||
| October 2024 | Chiswick Auctions | United Kingdom | |||
| October 2024 | Chiswick Auctions | United Kingdom | |||
| December 2023 | Rago | United States | |||
| March 2022 | Bonhams New Bond Street | United Kingdom | |||
| April 2021 | Bonhams Knightsbridge | United Kingdom | |||
| April 2019 | Phillips New York | United States |
Meaning & Analysis
The frontispiece of The Blue Guitar series acts as an introduction to the whole set of 20 prints and sets the tone in terms of the colour palette of red and blue which dominates the portfolio. Below the title of ‘The Blue Guitar’, the text, in blue and red capitals, reads, ‘ETCHINGS BY DAVID HOCKNEY WHO WAS INSPIRED BY WALLACE STEVENS WHO WAS INSPIRED BY PABLO PICASSO’. Across the top a classical guitar, softly drawn, lies on its side. The works in the series were intended to accompany, but not illustrate, Stevens’s book length poem of 1937, ‘The Man with the Blue Guitar’ which was itself based on a 1903 painting by Picasso entitled The Old Guitarist. Hockney first came across the poem in 1976 when he visited Fire Island with his friends Henry Geldzahler and writer Christopher Isherwood and he immediately got to work on this series of prints which also became a book. Beginning with ink drawings Hockney translated these into coloured etchings thanks to the technique of sugar lift aquatint which he learned in Paris while under the tutelage of Aldo Crommelynck, who had been Picasso's master printer.
