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David Hockney R.A. (British, born 1937) A Lot More of Ann Combing Her Hair Lithograph printed in black, 1979, on Japanese Toyoshi 50 paper, signed, dated and numbered 61/67 in red crayon, printed by Serge Lozingot and Anthony Zepeda, published by Gemini G.E.L., Los Angeles, with the artist's blindstamp and the publisher's blindstamp and inkstamp verso, the full sheet, framedSheet 1245 x 914mm (49 x 36in) image 1
David Hockney R.A. (British, born 1937) A Lot More of Ann Combing Her Hair Lithograph printed in black, 1979, on Japanese Toyoshi 50 paper, signed, dated and numbered 61/67 in red crayon, printed by Serge Lozingot and Anthony Zepeda, published by Gemini G.E.L., Los Angeles, with the artist's blindstamp and the publisher's blindstamp and inkstamp verso, the full sheet, framedSheet 1245 x 914mm (49 x 36in) image 2
Lot 8AR

David Hockney R.A.
(British, born 1937)
A Lot More of Ann Combing Her Hair

25 June 2025, 13:30 BST
London, New Bond Street

Sold for £4,480 inc. premium

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David Hockney R.A. (British, born 1937)

A Lot More of Ann Combing Her Hair (M.C.A. Tokyo 216)
Lithograph printed in black, 1979, on Japanese Toyoshi 50 paper, signed, dated and numbered 61/67 in red crayon, printed by Serge Lozingot and Anthony Zepeda, published by Gemini G.E.L., Los Angeles, with the artist's blindstamp and the publisher's blindstamp and inkstamp verso, the full sheet, framed

Sheet 1245 x 914mm (49 x 36in)

Footnotes

Provenance
Wiseman Originals, London, Favourite Artists and their Muses, 1997.
Purchased from the above by present owner.

This work offers an intimate portrait of the late Ann Upton, one of David Hockney's close friends and early muses. The two met in 1960, and by 1962, Ann had become one of his regular models. Through Hockney she met David Graves, who would go on to become both Hockney's assistant and, eventually, her husband. The couple married in 1983, with Hockney himself stepping behind the camera to document the occasion.

In this quiet scene, Hockney follows in the tradition of artists such as Ingres, Degas, and Bonnard, all of whom explored the recurring theme of women at their toilette, an intimate look at daily ritual. Ann is depicted from behind, her back to the viewer, in the act of combing her hair. Her face is not seen directly, but instead revealed through a mirror, adding a layer of intimacy and complexity. She smiles softly, seemingly lost in the moment. However, a closer look reveals another figure in the reflection, David Hockney himself. His presence subtly shifts the narrative. Ann's smile, rather than being a solitary gesture, maybe one of recognition, a subtle affectionate exchange with her friend.

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