With skilful simplicity, these self-portraits by David Hockney capture the essence of the artist’s appearance with a handful of masterfully placed fine lines. Their lightness conveys how the artist’s hand moved playfully yet purposefully across the page: in one, sketching the oversized glasses which frame his quizzical gaze; in the other, outlining a definitive and familiar profile. As we stare back into Hockney’s eyes, there is a palpable sense of introspection, almost as if we, the viewer, are looking in a mirror. With his ruffled hair and stubbled chin, the loose, confident strokes portray a fleeting moment of self-reflection, frozen in time by the minimalist touch of Hockney's pen.

 

Hockney’s self-portraits can be found within The Faces of My Friends, a small book that once belonged to his sister, Margaret Hockney. This antique Edwardian-era activity book beckons its readers to enrich its blank pages with their own drawings, guided by thought-provoking titles. In the summer of 1984, Margaret attended a painting workshop at Clandeboye Estate in Bangor, Northern Ireland, hosted by Lindy and Sheridan Dufferin. The Dufferins, friends of the Hockneys and partners of Kasmin Gallery, invited friends and family to their estate to enjoy a long weekend of creativity and craft. Denise Ferran, an artist and guest at the workshop, fondly recalled how Margaret would take out this book and encourage fellow guests to follow the prompts and sketch a self-portrait. The resulting object contains a wonderfully intimate and endearing collection of drawings. Two self-portraits by David Hockney sit amongst entries by his sister Margaret, his mother Laura, Margaret's partner Ken Wathey, Ian Falconer, the talented set designer and illustrator who was also Hockney’s very close friend, and more. This treasured book uniquely captures the warm and creative spirit of Hockney’s inner circle, highlighting how drawing was not just central to his art, but also to his life.
“He was never without a pencil or a pen. Drawing was his way of seeing the world, and he did it with such ease.”
—Margaret Hockney For Hockney, drawing has been an integral part of his life since childhood. As a young boy, he was rarely without a pencil, constantly sketching his surroundings and the people he encountered. About more than just capturing an image – Hockney uses line to convey the experience and emotions tied to a person or moment. He prefers to draw those closest to him, using his keen sense of observation to capture not just their likeness but the essence of their character in that particular moment. While his technical skill is undeniable, it's his ability to infuse his work with genuine emotion that makes his art resonate so deeply; as he stated, “Every artist needs to use the hand, the eye and the heart; two won’t do”. Drawing, for Hockney, is an ongoing conversation with his world, a way to stay connected to the people and experiences that matter most to him. Abundant with drawings of himself and his closest companions, The Faces of My Friends is imbued with such significance as it captures a cast of characters from Hockney’s world in the medium that means the most to him.

 

One of the self-portraits in the book is by Hockney’s mother, Laura Hockney, whose soft, short lines curl and intertwine much like the handwriting in which she has written her name. Hockney shared an extraordinarily close bond with his mother, who was his unwavering supporter throughout his artistic journey. A tough yet warm-hearted Bradfordian, Laura nurtured David’s early passion for art, encouraging him even when his ambitions seemed unconventional. A devout Methodist and strict vegetarian, Laura’s values deeply influenced the young artist, who adopted vegetarianism and carried the sense of discipline and morality she instilled in him. She remained by his side throughout his illustrious career, often traveling with him, even in her later years. Laura sat for Hockney countless times, her serene and steadfast demeanour captured in portraits that reflect both her strength and the deep affection of their relationship.

 

Margaret Hockney’s self-portrait, with glasses like her brother’s and a friendly disposition, is simple yet endearing. As the only girl among four brothers, Margaret shared a close bond with David. She recalled how, as a child, Hockney was never without a pencil: “David always drew. He drew on the wallpaper, on the side of the wardrobe, on the wall. He never stopped drawing.” Margaret's The Faces of My Friends book, is a testament to her understanding of this never-ending enjoyment of drawing. Margaret led a successful career as a nurse and midwife, working in the UK, Africa, and Australia, but turned to art in later life. Her influence on David’s work is evident, particularly due to her encouragement in the early 2000s for him to experiment with new technologies such as Photoshop and scanning, helping to pave the way for his acclaimed digital creations.
“Portraits aren’t just made up of drawing, they are made up of other insights as well.”
—David Hockney The self-portrait of Ken Wathey, Margaret Hockney’s partner, captures his likeness with hastily but tactfully drawn lines. A successful artist in his own right, Wathey began his career as a scenic artist at Bradford’s Alhambra Theatre before becoming a well-known painter. His skill is evident in his sketched self-portrait, where rough, almost-scribbled marks expertly define the contours of his face. Wathey and Hockney were close friends for many decades, particularly after the death of Laura, when they would often paint together in the studio of Margaret and Ken’s Bridlington home.

 

Ian Falconer’s self-portrait demonstrates his skill as a draughtsman and ease in handling line. His calm expression gazes outwards with a gentle solemnity, warmly inviting the viewer to engage with his thoughtful demeanour. A renowned illustrator and set designer, Falconer first met Hockney in 1980 at a gathering in Henry Geldzahler’s New York apartment, a serendipitous meeting that sparked a long and close relationship. An art student at the time, Falconer was captivated by Hockney’s vibrant world, and just two years later, he moved in with him in Los Angeles. Although their romantic relationship was brief, ending in 1983, their creative bond endured. Falconer modelled for Hockney’s iconic swimming pool works, and they continued to collaborate over the years, with Falconer designing costumes and assisting with set designs for Hockney’s opera productions. Falconer was later celebrated for his Olivia children’s books, and he and Hockney stayed in close contact until Falconer’s death in 2023.

 

Other self-portraits in the book include drawings by artist Denise Ferran, her husband Brian Ferran, Lindy Dufferin (Marchioness of Dufferin and Ava), whose estate hosted the summer painting workshop, and Neil Shawcross, the artist who led the 1984 workshop, among others. This collection of drawings, from Hockney’s masterful draughtsmanship to the more rudimentary sketches by less technically skilled authors, combines to create an entirely unique object that profoundly captures not just the intimate atmosphere of the Clandeboye workshop, but also the integral role of drawing in Hockney’s life, particularly within his close circle. More than a collection of sketches, The Faces of My Friends reflects the constant, integral role of drawing in Hockney’s close circle and daily life. Through its pages, we gain rare insight into how drawing bridged the art and relationships of one of our greatest living artists.

 

Contributors include David Hockney, Ian Falconer, David Graves, Margaret Hockney, Ken Wathey, Neil Shawcross, Norman Hawthorne, Leah Ken, Robert Cray, Rosemary Woods, Lindy Dufferin, Amabel Marten, Brian Ferran, Denise Ferran, Aisling Russell, Kent Dur Russell, and Laura Hockney.

 

Phillips thanks Dr Denise Ferran, Artist and Art Historian, for her assistance in the research of this object.