A fabulous opportunity to acquire an artwork from one of the defining bodies of work in Hockney's acclaimed graphic output.

In February 1986 the artist began to experiment with a friend's photocopier machine, quickly realising its potential as a printmaking tool. The process of printing with the copy machine is very similar to that of a traditional colour artist’s print. Each colour is drawn onto a separate sheet of paper. That colour is then printed onto each sheet of the edition. Once each colour has been completed, the printed sheets are loaded back into the machine and a sheet with another, separate colour is placed on the copy bed. In this way, the print remains rooted in the tradition of layering ink, giving the surface depth and dimensions.

The visual effect of these prints is unique in Hockney's graphic oeuvre. Traditional printmaking inks contain oil, which imparts a glossy finish to the colours. In a copy machine the powdered ink is bonded to the paper with heat, creating tones that are completely matte. The artist was captivated by the richness of the blacks he was able to achieve, describing them as having the totality of a void.

Over the course of the year Hockney made thirty-three of what came to be known as the "Home-Made Prints". Initially intending to create each image in an edition of 60, the complexities of the process and the lack of any opportunity to make corrections meant that some of the prints were produced in much lower numbers. The series as a whole is a testament to the restless innovation that characterises Hockney's career. Limited by the standardized sizes of paper that the machines would accept, Hockney was obliged to create composite images, an approach that he would later explore to spectacular effect in his painting. The Home-Made Prints also presage his later iPad drawings.