Sims Reed Gallery | Art14

Sims Reed Gallery | ART14

Sims Reed Gallery | ART14 Friday 28th February - Sunday 2nd March 2014

Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0)20 7930 5111 F +44 (0)20 7930 1555 E gallery@simsreed.com www.gallery.simsreed.com

David Hockney Prints | Art14 To coincide with the 60th anniversary of David Hockney’s first print, we are delighted to be dedicating our booth at Art14 entirely to his graphic works. Hockney has been a devoted and innovative printmaker throughout his entire career and our solo show at Art14 will include the entire range of his prints. This also coincides with the major exhibition ‘Hockney Printmaker’ at the Dulwich Picture Gallery, opening this February.

Hockney made his first etching in 1961, while studying at the Royal College of Art. He discovered that materials in the print studio were free, and having run out of money to buy paint and stretchers, he turned to print-making. He took to etching immediately and produced several during his time at the Royal Collage.

Charming, idiosyncratic, and often autobiographical, we will be exhibiting a substantial group of these early rare etchings.

After graduating from the Royal College, Hockney began to experiment with other print techniques. In 1964 he made his first mature colour lithograph – ‘Water Pouring into a Swimming Pool, Santa Monica’, the same year he made his first swimming pool painting. Several years later, between 1978 and 1980, he returned to swimming pools, including ‘Lithograph of Water Made of Lines, Crayon and Two Blue Washes’. During the early 1970’s, Hockney lived in Paris and made a number of prints there, including several with Aldo Crommelynck, Picasso’s master printer. Among these Paris inspired works are two large colour etchings of imagined views from the majestic windows of the Louvre. We are delighted to be showing both ‘Two Vases in the Louvre’ and ‘Contrejour in the French Style’. Around this time he also completed the ‘Weather Series’, inspired by a trip to Japan. Our Art14 booth will include ‘Snow’, which clearly references traditional Japanese print-making.

Hockney often put print-making in the service of portraiture, including images of some of his most familiar sitters. We will be exhibiting images of close friends, including Henry Geldzahler and Celia Birtwell, as well as his former lover Peter Schlesinger. We are also exhibiting ‘The Student’ (1973), a deferential self-portrait with Pablo Picasso. A slightly different type of portrait on view will be ‘Dog Wall’, a series of fifteen intimate etchings of Hockney’s beloved dachshunds Stanley and Boogie.

Hockney’s growing interest in colour is very much apparent in his print work and the strong line, stark palette, and skilled draftsmanship of his early career slowly moves towards vibrant colours and bold forms.

We will be exhibiting two magnificent lithographs - ‘Amaryllis in Vase’ (1985) and ‘Afternoon Swimming’ (1979), both bursting with all the bold gestures and pulsating colours one would expect from Hockney’s more recent work.

Prolific and always innovative, Hockney’s career has been rich and varied, which is perhaps nowhere more evident then in a survey of his print oeuvre.

- Lyndsey Ingram, Sims Reed Gallery

4

Andy Warhol ‘David Hockney’ unique gelatin silver print c. 1980

Myself and My Heroes Etching and aquatint, 1961.

Signed and dated in pencil.

From an edition of aproximately 50.

Printed on English hand-made paper by Ron Fuller and Peter Matthews at the Royal College of Art in London.

(Tokyo 4; Scottish Arts Council 4) 57.2 x 77.8 cm

6

Kaisarion and all his Beauty Etching and aquatint printed in black and red, 1961.

Signed and dated in pencil.

From an edition of aproximately 50.

Printed by on J. Whatman paper.

Published by the Royal College of Art, London.

(Scottish Arts Council 8) 70 x 50.3 cm

8

Fires of Furious Desire Etching and aquatint, 1961.

Signed in pencil and inscribed AP. A proof aside from the edition of 75.

Printed on Crisbrook handmade paper by Maurice Payne, London.

Published by the Petersburg Press, London.

(Tokyo 5) 29.5 x 39.4 cm

10

Study for Rumpelstiltskin Etching and aquatint on four plates, 1961.

Signed in pencil and numbered from the edition of 15.

Printed on crisbrook handmade paper by Maurice Payne, London.

Published by the Petersburg Press.

(Scottish Arts Council 11;Tokyo 11) 25.3 x 56 cm

12

Gretchen and the Snurl Etching and aquatint, 1961.

Signed in pencil and numbered 12/50.

Printed on Crisbrook handmade paper by Maurice Payne, London.

Published by Petersburg Press, London.

(Tokyo 11) 25.3 x 56 cm

14

The Start of a Spending Spree and the Door Opening for a Blonde Etching and aquatint printed in colour, 1961-63.

Signed in pencil and numbered from the edition of 50.

From; The Rake’s Progress. Printed by C.H. Welch, London.

Published by Editions Alecto, London.

(Tokyo 16) 62 x 51 cm

16

My Bonnie Lies Over the Ocean Etching and aquatint printed in colours with collage, 1962.

Signed in pencil, dated ‘62 and numbered from the edition of 50.

Printed on wove pape. Proofed by Pratt Graphic Workshop, New York.

Printed by Ron Fuller and Peter Mathews at the Royal College of Art, London.

(Tokyo 29; Scottish Arts Council 13) 57.2 x 77.8 cm

18

The Marriage Etching and aquatint, 1962.

Signed in pencil and numbered 66/75.

Printed on J Green mould-made paper by Birgit Skiold, London.

Published by Petersburg Press, London.

(Tokyo 30) 51.5 x 64 cm

20

The Acrobat Etching and aquatint, 1964.

Signed in pencil and numbered from the edition of 15.

Printed on Crisbrook handmade paper by Maurice Payne, London.

Published by Petersburg Press, London.

(Tokyo 35) 57 x 80 cm

22

Water pouring into swimming pool. Santa Monica Lithograph pritned in colours, 1964.

Signed in pencil and numbered from the edition of 75.

Printed on handmade Japan paper by Atelier Matthieu, Zurich.

Published by Editions Alecto, London.

(Tokyo 38; Scottish Arts Council 30) 51 x 66.5 cm

24

Pacific Mutual Life Lithograph, 1964.

Signed in red crayon and numbered from the edition of 20.

Printed on Arches paper by the Tamarind Lithography Workshop, Los Angeles.

Published by Editions Alecto, London.

(Tokyo 36) 51 x 63.5 cm

26

Edward Lear Etching and aquatint, 1964.

Signed in pencil and numbered from the edition of 50.

Printed on mould-made paper by Giulio Sorrini, Nwe York.

Published by Associated American Artists.

(Tokyo 34) 61 x 51 cm

28

A portrait of Rolf Nelson Lithograph with hand colouring, 1965-68.

Signed in pencil and numbered 2/12.

Printed by Kenneth Tyler.

Published by Gemini GEL, California.

(Scottish Arts Council 63) 105.4 x 75.2 cm

30

In an Old Book Etching and aquatint, 1966.

Signed in pencil and numbered XI/XXV. From: Illustrations for Fourteen Poems from C.P. Cavafy.

Printed on Vellum by Maurice Payne and Danyon Black at the Alecto Studios, London.

Published by Editions Alecto.

(Tokyo 52) 63.5 x 50.5 cm

32

The Beginning Etching and aquatint, 1966.

Signed in pencil and numbered XIV/XXV. From: Illustrations for Fourteen Poems from C.P. Cavafy.

Printed on Vellum by Maurice Payne and Danyon Black at the Alecto Studios, London.

Published by Editions Alecto.

(Tokyo 55) 63.5 x 50.5 cm

34

Peter Etching, 1969.

Signed in pencil and numbered from the edition of 75.

Printed on J Green paper by Maurice Payne, London.

Published by Petersburg Press, London.

(Tokyo 107) 92.5 x 71 cm

36

The Older Rapunzel Etching and aquatint, 1969.

Signed in pencil, and numbered 61 from the edition of 100.

From: Illustrations for Six Fairy Tales From the Brothers Grimm.

Printed on Hodgkinson handmade paper by the Print Shop, Amsterdam.

Published by Petersburg Press, London.

(Scottish Arts Council 84; Tokyo 81) 45.5 x 31 cm

38

Inside the Castle Etching and aquatint, 1969.

Signed in pencil, and numbered 61 from the edition of 100.

From: Illustrations for Six Fairy Tales From the Brothers Grimm.

Printed on Hodgkinson handmade paper by the Print Shop, Amsterdam.

Published by Petersburg Press, London.

(Scottish Arts Council 96 ; Tokyo 93) 45.5 x 31 cm

40

The Sexton Disguised as a Ghost Etching and aquatint, 1969.

Signed in pencil, and numbered 61 from the edition of 100.

From: Illustrations for Six Fairy Tales From the Brothers Grimm.

Printed on Hodgkinson handmade paper by the Print Shop, Amsterdam.

Published by Petersburg Press, London.

(Scottish Arts Council 89; Tokyo 86)

42

The Princess Searching (5) Etching and aquatint, 1969.

Signed in pencil and numbered 80/100.

From: Illustrations for Six Fairy Tales From the Brothers Grimm.

Printed on Hodgkinson handmade paper by the Print Shop, Amsterdam.

Published by Petersburg Press.

(Scottish Arts Council 74) 45 x 41 cm

44

Mo With Five Leaves Etching and aquatint, 1971.

Signed in pencil and inscribed AP. An Artist’s Proof aside from the edition of 75.

Printed on J Green mould-made paper by Shirley Clemeny at The Print Shop, Amsterdam.

Published by Petersburg Press, London.

(Tokyo 117) 91 x 70.5 cm

46

For the Oz Obscenity Fund Lithograph, 1971.

Signed in pencil and numbered from the edition of 30.

Published by the artist to raise money for the Oz obscenity Trial.

51 x 82 cm

48

Rue de Seine Etching and aquatint, 1971.

Signed in pencil and numbered from the edition of 150.

Printed on J Green mould made paper by the Print Shop, Amstredam.

Published by Petersburg Press, London for the National Council of Civil Liberties and Release in London.

(Scottish Arts Council 121; Tokyo 111) 89 x 71 cm

50

Weather Series - Snow Lithograph, printed in colours, 1973.

Signed and dated in green crayon, numbered AP.IX. Printed by Ron Olds and Dora Hirt.

Published by Gemini G.E.L. (Tokyo 131) 101.6 x 85 cm

52

The Student: Homage to Picasso Etching and aquatint, 1973.

Signed in pencil and numbered from the edition of 90.

Printed on Arches paper by Atelier Crommelynk, Paris.

Published Propylaen Verlag, Berlin.

(Tokyo 143) 75.5 x 56.5 cm

54

Godetia Etching and aquatint printed in colours, 1973.

Signed in pencil and inscrobed AP. An artist’s proof aside from the edition of 100.

Printed on Arches mould-made paper by Atelier Crommelynk, Paris.

Published by Petersburg Press, London.

(Scottish Arts Council 155) 58.5 x 42 cm

56

Slightly Damaged Chair, Mailbu Lithograph, 1973.

Signed in green crayon and numbered from the edition of 60.

Printed on Arches mould-made paper.

Printed and published by Gemini GEL, California.

(Tokyo 133) 76 x 56 cm

58

Two Vases in the Louvre Etching and aquatint printed in colours, 1974.

Signed in pencil and numbered from the edition of 75.

Printed on Inveresk mould-made paper by Maurice Payne, London.

Published by Petersburg Press, London.

(Tokyo 154; Scottish Arts Council 168) 99.5 x 92 cm

60

My Parents Chromogenic print, 1975.

Signed in ink and numbered 20/80.

Published by Sonnabend Editions, New York.

21 x 27 cm

62

Henry Seated with Tulips Lithograph, 1976.

Signed in pencil and inscribed R.T.P. The Bon a Tirer proof before the edition of 90.

Printed on Arches mould made paper by Edward Henderson and Anthony Zapeda, Los Angeles.

Published by Gemini, Los Angeles.

(Scottish Arts Council 187) 105.7 x 72.7 cm

64

Lithographic Water Made of Lines Lithograph, 1978-1980.

Signed in pencil and numbered from the edition of 42.

Printed on TGL handmade paper by Roger Campbell, Lee Funderburg and Kenneth Tyler.

Published by Tyler Graphics.

(Tokyo 210) 66 x 87 cm

66

Lithograph of water Made of Lines, Crayon and Two Blue Washes Lithograph printed in colours, 1978.

Signed in pencil and numbered from the edition of 36.

Printed on handmade paper by Tyler Graphics, New York.

Published by Tyler Graphics.

75.5 x 87.5 cm

68

Afternoon Swimming Lithograph printed in colours, 1979.

Signed in pencil and numbered from the edition of 55.

Printed on White, Arches Cover, mould-made paper by Kenneth Tyler.

Published by Tyler Graphics, New York.

(Tokyo 233) 80.6 x 100.3 cm

70

Amaryllis in vase Lithograph printed in colours, 1985.

Signed in pencil and numbered from the edition of 80.

Printed on white TGL handmade paper by Tyler Graphics.

Published by Tyler Graphics with their blindstamp.

(Tokyo 266) 127 x 92.5 cm

72

Sunflower I Etching and aquatint, 1995.

Signed in pencil and numbered from the edition of 80.

Printed on Arches Watercolor paper by Maurice Payne, Los Angeles.

Published by George Mulder, Lococo Mulder Inc./ David Hockney.

(Tokyo 342) 68.9 x 57.1 cm

74

Sunflower II Etching and aquatint, 1995.

Signed in pencil and numbered from the edition of 80.

Printed on Arches Watercolor paper by Maurice Payne, Los Angeles.

Published by George Mulder, Lococo Mulder Inc./ David Hockney.

(Tokyo 342) 68.9 x 57.1 cm

76

Vertical Dogs Etching and aquatint printed in colours, 1995.

Signed in pencil and numbered from the edition of 80.

Printed on on Arches Watercolor, paper by Maurice Payne; Los Angeles, New York.

Published by George Mulder, Lococo Mulder Inc. / David Hockney.

(Tokyo 345) 57.1 x 63.5 cm

78

Dog Wall The complete set of 15 etchings, 1998.

Each signed in pencil and numbered from the edition of 35.

Printed on Somerset wove paper.

Published by the artist.

Varying sheet sizes.

80

Matelot Kevin Druez 1 Inkjet printed computer drawing on paper, 2009.

Signed in pencil and numbered from the edition of 30.

74 x 111 cm

82

Designed by Lucy Harbut 2014

Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0)20 7930 5111 F +44 (0)20 7930 1555 E gallery@simsreed.com W gallery.simsreed.com