David Hockney (b. 1937)
Property from the Collection of Harry W. and Mary Margaret Anderson
David Hockney (b. 1937)

Self-Portrait

Details
David Hockney (b. 1937)
Self-Portrait
signed with the artist's initials 'D.H.' (lower right)
make-up on paper
18 1/8 x 14 in. (46 x 35.5 cm.)
Executed in 1982.
Provenance
The Signature Collection: Portraits by International Artists 1983, In the Medium of Make-Up; Christie's, New York, 23 May 1983, lot 19
Acquired at the above sale by the present owner
Literature
“Self Portraits,” New York Magazine, vol. 16, no. 21, May 23, 1983, p. 35 (illustrated).
Exhibited
San Francisco, California Palace of the Legion of Honor, Selections from the Anderson Collection: Contemporary Portraits, January-April 1998.
Santa Cruz, The Museum of Art and History, Eye to Eye: Contemporary Portraits from the Anderson Graphic Arts Collection, July-September 1998.
San Francisco Museum of Modern Art, Celebrating Modern Art: The Anderson Collection, October 2000-January 2001, p. 368, no. 121.

Brought to you by

Emily Kaplan
Emily Kaplan

Lot Essay

In May 1983, the legendary cosmetics company Charles of the Ritz teamed up with Christie’s for a benefit auction to raise money for the Save the Children Fund. In a leading-edge move for the era, The Signature Collection: Portraits by International Artists 1983, In the Medium of Make-up was hosted simultaneously in both New York and London via satellite, with works by sixty-six artists up for sale, including examples by David Hockney, Chuck Close, Alex Katz and Ellsworth Kelly. Each artist produced and donated their own self-portrait specifically for the auction, executed in Charles of the Ritz make-up products in lieu of traditional fine art media. Some participants seem to have chosen a more playful approach for their commission, allowing the uncommon medium to direct their creativity. In Hockney’s Self-Portrait, for instance, the viewer senses they are behind a mirror, watching as the artist applies his own lipstick in the reflective surface, yet simultaneously half-aware that the medium that paints his lips is the same that provides the existential contours of his face, neck and lapels. Other artists, such as Chuck Close, adhered to their characteristic subject matter, seemingly oblivious to the switch-up from ink to eyeliner. The resulting self-images from the various artists are distinct yet cohesive, and entirely personal—unique snapshots of a creative burst from each, frozen in time.

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