David Hockney - Cavafy Suite

David Hockney Etchings for Cavafy

goldmark

David Hockney etchings for poems from

Cavafy 1966

goldmark 2012

C P Cavafy

David Hockney first discovered the Greek poet C.P. Cavafy while a student at the Royal College of Art in the early 1960s. In 1961 he produced two etchings Kaisanion with all his Beauty; Mirror, Mirror on the Wall and a painting A Grand Procession of Dignitaries in the Semi-Egyptian Style inspired by Cavafy's poems. So when Paul Cornwall-Jones of Editions Alecto asked him to make a series of etchings relating to Cavafy in 1966, he agreed without hesitation.

The poems Hockney chose all related to Alexandria in Egypt with its barely concealed flavour of homosexual love, but Alexandria had become too spoilt since the poems were written in the 1920s and so he travelled to Beirut for two weeks in order to make careful pen and ink drawings of the daily life of the city. On his return he created the etchings which vividly demonstrated his new fascination with observed reality after the more abstract imagery of his Rake's Progress series of 1961-63.

PO EM S O F CAVA F Y

The Beirut drawings provided architectural settings for the two portraits of Cavafy as well as To Remain (a dry cleaning shop) and The Shop Window of a Tobacco Store (a shop beneath an advertisement for HIS MASTER'S VOICE in English and Arabic). He Enquired after the Quality shows a man selling handkerchiefs to another man and is closely based on a drawing of a man selling bottles in the bazaar, which is inscribed by Hockney ‘these bottles should be handkerchiefs’. Hockney decided to concentrate on the homosexual poems and the rest of the series come from drawings of pairs of boys in his bedroom in Notting Hill Gate with the exception of In an Old Book and One Night which are taken from male physique magazines.

The Cavafy prints are not literal illustrations of the poems but visualizations of their nostalgia for fleeting but memorable sexual encounters. The feeling of authenticity generated by the images is due to Hockney's own personal experiences. They were instantly acclaimed. Edward Lucie-Smith spoke of their 'staggering virtuosity' and described them as 'not only the best work I have seen by the artist but probably the finest prints produced in England since the war'. The Arts Council made a film about the creation of the engravings entitled Love's Presentation.

Peter Webb, author of Portrait of David Hockney (Chatto, 1988) and David Hockney, Grimm's Fairy Tales (South Bank Centre National Touring Exhibition, 1993)

PO EM S O F CAVA F Y

The mirror at the entrance The grand house had hung in the entrance a huge and very ancient mirror purchased no less than eighty years ago.

A very handsome boy, assistant to a tailor (on Sundays, amateur athlete) waited with a parcel. He delivered it to someone from the house who took it in to bring back the receipt. The tailor's boy was left alone and waited.

He approached the mirror, gazing at himself in it, and adjusted his tie. Five minutes later they brought him the receipt. He took it and went out.

The antique mirror that had looked and looked through its long years of existence at a thousand things and faces, this antique mirror now rejoiced and bragged that it had momentarily received upon itself such complete beauty.

 01572 821424

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DAVID H O CKNEY

1 Portrait of Cavafy in Alexandria etching and aquatint, 35 x 22.5 cm

ÂŁ2750

PO EM S O F CAVA F Y

Two boys aged 23 or 24 He had been at the café from half past ten expecting him soon to appear.

Midnight — he was still waiting.

One thirty; now the café was nearly empty.

He bored himself reading newspapers mechanically. Of his miserable three shillings only one remained; the rest he spent on coffee and brandy while waiting for so long.

He had smoked up all his cigarettes.

He felt exhausted now by waiting. Because, being alone for hours, disturbing thoughts of having gone astray in his life began to gnaw at him, But when he saw his friend come in, at once fatigue, boredom and worries disappeared.

His friend brought unexpected news.

He had won sixty pounds at the casino.

Their handsome faces, superb youth, the sensual love they felt for one another, were now refreshed, renewed, invigorated by the sixty pounds from the casino.

And full of joy and strength, beauty and emotion, they went — not to the houses of their decent families (where they were now unwanted anyway) but to a very special place they knew of ill repute. They took a bedroom there ordered expensive drinks and went on drinking.

And when the expensive drinks were finished, when it was nearly dawn, content, they gave themselves to love.

DAVID H O CKNEY

2 Two boys aged 23 or 24 etching and aquatint, 35 x 22.5 cm

ÂŁ3500

PO EM S O F CAVA F Y

He enquired after the quality He came out of the office where he worked in a position that was insignificant and under-paid (about eight pounds a month, including tips).

When he had finished with the odious chores over which he had stooped all the afternoon, he went outside, at seven, walking slowly, idling away his time in the street. Handsome and interesting; the way he seemed to have achieved his full potential sensuality.

His twenty-ninth birthday was last month.

He idled away his time in the street and in the poor alleys leading to his home.

Passing in front of a small shop which sold some fake, cheap goods for working people, he saw within a face, a figure, and this urged him to enter, as if to ask about some coloured handkerchiefs.

He enquired after the quality of the handkerchiefs and what they cost in a low voice almost stifled by desire.

And the answers that came followed suit abstracted, in a choking voice implying willingness.

They kept on murmuring things about the goods — but their sole intent: to touch each other's hands across the handkerchiefs; to bring their faces and their lips close together, as if by chance; a momentary contact of their limbs.

Quickly and stealthily so that the owner of the shop sitting at the far end should not notice.

DAVID H O CKNEY

3 He enquired after the quality etching and aquatint, 35 x 22.5 cm

ÂŁ2500

PO EM S O F CAVA F Y

To remain It must have been one or one thirty after midnight.

In a corner of the wine-shop; behind the wooden partition.

Except for the two of us, the shop was completely deserted.

An oil lamp scarcely burning.

The waiter who had been awake, slept now at the door.

No one would see us. But we were so excited anyway we couldn't take precautions.

We partly undid our clothes — there weren't many as it was in divine burning July.

Enjoyment of flesh through half-torn clothes; quickly bared flesh; apparition twenty-six years passed; and now returned to remain in this poetry.

DAVID H O CKNEY

4 To remain etching and aquatint, 35 x 22.5 cm

ÂŁ2400

PO EM S O F CAVA F Y

According to prescriptions of ancient magicians "What quintessence can there be that's made of herbs that weave spells," said an aesthete, "what quintessence made according to prescriptions of ancient Greco-Syrian magicians which, for a day (even if not powerful enough to last longer), or even for a little while, could bring me back my twenty-third year; could bring my lover back to me in his twenty-second year — his love, his beauty.

"What quintessence can there be that's made according to prescriptions of ancient Greco-Syrian magicians which would, by the power of this recollection, bring back to us as well our narrow room."

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DAVID H O CKNEY

5 According to prescriptions of ancient magicians etching, 35 x 22.5 cm

ÂŁ3000

PO EM S O F CAVA F Y

In an old book I found in an old book — about a hundred years old — forgotten pressed among its pages, a water colour without any signature.

It must have been the work of a great artist Its title was, "Love's Presentation".

A more appropriate name would be, "Uttermost Passionate Love's . . ."

Because it was quite evident when seeing the work (the idea of the artist could clearly be perceived), that the young boy of the painting was not destined for those who are ordinary healthy lovers confined to what is thoroughly permissible — with chestnut brown deep coloured eyes with the unique beauty of his face the beauty of fascination with the abnormal with ideal lips for bringing the loved body pleasure with ideal limbs made for those beds that current morality would call shameless.

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DAVID H O CKNEY

6 In an old book etching, 35 x 22.5 cm

£4000

PO EM S O F CAVA F Y

The shop window of a tobacco store They stood among many others by the bright shop window of a tobacconist.

Their glances met by chance and hesitantly, timidly revealed the unlawful longings of their bodies.

A few uncertain steps then on the pavement — until they smiled, and slightly nodded.

And then, the covered carriage . . . the sensitive approach of bodies; joined hands, joined lips.

DAVID H O CKNEY

7 The shop window of a tobacco store etching and aquatint, 35 x 22.5 cm

ÂŁ2400

PO EM S O F CAVA F Y

In the dull village In the dull village where he works — as a clerk in a shop; very young — and where he waits for two or three more months to go by, another two or three months till business slows down, to go then to the town and throw himself immediately into its life and entertainment; in the dull village where he waits — he went to bed love-sick tonight his whole youth afire with fleshly passion, beautiful youth beautiful in intensity.

And pleasure came to him in sleep; he sees and has the body he desires in his sleep . . .

DAVID H O CKNEY

8 In the dull village etching and aquatint, 35 x 22.5 cm

ÂŁ3500

PO EM S O F CAVA F Y

The beginning Having fulfilled their lawless pleasure, they get up out of bed and dress in silence, hurriedly.

Furtively, separately, they leave the house and walk uneasily along the street as if in fear of something that betrays how, a short while ago, they'd lain together.

But how much life's gained, and the artist too, Tomorrow, or the next day, or years after wonderful poems will be written, of which these lines are the beginning.

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DAVID H O CKNEY

9 The beginning etching and aquatint, 35 x 22.5 cm

ÂŁ3000

PO EM S O F CAVA F Y

One night The room was cheap and common obscure above the dubious looking tavern.

From the window you could see the filthy narrow lane. The voices of some workers playing cards and having fun came from below.

There, on the common, humble bed I had the body of love, I had the sensual red lips — intoxication — red lips — intoxication — so that even now as I write, after so many years, in my solitary home, I feel again the intoxication.

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DAVID H O CKNEY

10 One night etching and aquatint, 35 x 22.5 cm

ÂŁ2750

PO EM S O F CAVA F Y

In despair He has lost him forever.

And now he seeks his lips on lips of other lovers.

Coming with each new lover he tries to deceive himself in thinking it is he in thinking that he gives himself to him.

He has lost him forever, as if he had never existed.

Because he had wanted — he said — wanted to save himself from condemned and perverse pleasure from condemned infamous pleasure.

He still had time — he had said — to save himself.

He has lost him forever as if he had never existed.

He tries to find his lips on lips of other boys; in fantasy, in illusion he tries to feel again his love.

DAVID H O CKNEY

11 In despair etching and aquatint, 35 x 22.5 cm

ÂŁ3000

PO EM S O F CAVA F Y

Beautiful and white flowers He went into the coffee house where they often went together. — His friend had told him here three months ago, "We are completely broke we are very poor all we can afford to go to are the cheapest places.

I tell you frankly, I cannot go around with you.

You must know, there's someone else who wants me."

That other one had promised him two suits and a few silk handkerchiefs. — To get him back he turned the whole world upside down and found twenty pounds.

His friend went back to him for the twenty pounds; but also, along with them, for the old friendship, for the old love, for their true deep feeling. — The "other" was a liar; a real good for nothing; he'd given him only one suit and even that unwillingly, after many entreaties.

But now he needs no more suits, and not at all the silken handkerchiefs, nor twenty pounds, nor twenty piastres.

They buried him on Sunday, They buried him on Sunday:

at ten in the morning. almost a week ago.

He placed some flowers on his poor coffin, beautiful and white flowers as befitted his beauty and his twenty-two years.

When he went out in the evening (as it happened he had to get something to eat) to the coffee house where they often went together: the squalid coffee house where they often went together — a knife in his heart.

DAVID H O CKNEY

12 Beautiful and white flowers etching and aquatint, 35 x 22.5 cm

ÂŁ2250

PO EM S O F CAVA F Y

Painted I care about my writing, love it.

Just now, though, I'm discouraged at my slowness.

The day depresses me. It seems ever to get darker, darker.

The wind blows. All the time it rains.

Now I'd rather look than write at this picture of a boy, reclined beside a fountain, tired from running.

How beautiful he is; what a divine noon enraptured him, to lull him so to sleep.

I sit and gaze like this for a long time, so from art's toil, I rest again in art.

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DAVID H O CKNEY

13 Portrait of Cavafy II etching and aquatint, 35 x 22.5 cm

ÂŁ3000

PO EM S O F CAVA F Y

PLATES The thirteen etchings illustrating the poems were drawn directly onto copper plates and etched by David Hockney in London in 1966. The editions were printed by Maurice Payne and Danyon Black at the Alecto Studios in London in 1966/67.

SIGNED EDITION A signed and numbered portfolio edition of 100 was produced together with 15 artist’s proofs. 25 of these included the additional print Portrait of Cavafy II. PAPER Handmade paper by J Barcham Green Ltd CANCELLATION On completion of the editions, the plates were defaced and presented to the Museum of Modern Art, New York. after the pulling of cancellation proofs.

POEMS The English translation of these poems by C P Cavafy were originally published by arrangement with Hogarth Press Ltd. They were translated by Rae Delven.

 01572 821424

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