AS IS WHEN A BOOM IN BRITISH PRINTMAKING 1961-1972
Hockney began work on the Rake’s Progress prints on his return from New York in 1961. This was his first suite of prints and was based on William Hogarth’s suite if the same title, a moral tale of a squandered life told in eight copper-plate engravings published in 1735. Hockney’s intention had been to make eight etchings for his own series following Hogarth’s original titles, but it was suggested he should extend the number of prints and publish it as a book. The intention had been to make 25 etchings but this was finally reduced to 16 which he was to work on over the next two years. The book did not materialise but after Hockney had finished and proofed the plates, A Rake’s Progress was eventually published as a limited edition portfolio by Editions Alecto in 1965. Each plate in the series is inscribed with a title and the 16 plates are numbered from plate 1 and plate 1a through to plate 8 and plate 8a, rather than from 1-16, to remain more faithful to Hogarth’s story told in eight plates. Now transposed to New York, Hockney’s semi-autobiographical ‘rake’ is seen discovering the good life found in a more liberated society. At first all goes well for the young man: he sells prints, is accepted by the ‘good people’, bleaches his hair for the first time, frequents bars and marries. Misfortune is to befall him as he runs out of money and is shunned by the ‘good people’ His ultimate fate depicted in the final two plates is not descent into madness as in Hogarth’s tale, but into joining the mindless masses, the ‘other people’. In his Bedlam, depicted in plate 8a, the only way of distinguishing the ‘rake’ from the other robotic figures is by a small arrow above his head, he has finally been subsumed into the uniform crowd where personal identity has disappeared.
- Accession Number P768
- Media SIGNED POSTER
All copies of a book, print, portfolio, sculpture, etc., issued or produced at one time or from a single set of type. Printed works can be made in an edition of between one and many thousands of copies. With most printing techniques the plate or screen will become worn if very many prints are made, so to maintain quality (and exclusivity) editions of original prints are usually kept below one hundred copies and normally average between thirty and fifty copies. Prints made up of several different plates can be extremely complicated and time-consuming to edition, so in these cases editions are kept low for practical reasons. Sculptural editions are a set of cast sculptures taken from the same mould or master. These editions are usually much lower, consisting of no more than six casts. Though each cast in an edition might have a lower value than a unique piece, it may be a more effective way of offsetting costs of an expensive process such as bronze casting.
A set of pictures (as drawings, photographs or prints) either bound in book form or loose in a folder. These can be by the same artist or individual works by a selection of artists. The term also refers to the folder which holds the set.
- Ireland, Letterkenny, Glebe House and Gallery
- China, Chongqing, Tank Loft
- Taiwan, Taipei, Kundu Museum Of Fine Arts
- Taiwan, Taichung, National Taiwan Museum Of Fine Arts
- Poland, Krakow, Manggha Centre
- Lithuania, Kaunas, Modern Art Museum
- Lithuania, Siauliai, Dailes Galerija
- Portugal, Porto, Culturgest
- Italy, Rome, Istituzione Nazionale Per La Grafica
- Romania, Cluj, Biblioteca Judeteana Octavian Goga
- Romania, Timisoara, Faculty Of Fine Art
- Romania, Palace Of Culture
- Romania, Bucharest, National Museum Of Art
- Romania, Constanta, Constanta Art Museum
- Kazakhstan, Almaty, Central Exhibition Hall
- Armenia, Yerevan, National Gallery
- Estonia, Tallinn, Museum Of Contemporary Art