Maurice Payne began his printing career in the early 1960s at two of London’s most esteemed print workshops: Editions Alecto Ltd. and Petersburg Press. Acclaimed for his expertise in carborundum and intaglio techniques, Payne worked with numerous leading artists of the time, including Howard Hodgkin, Jasper Johns, and Jim Dine. Yet, some of the most defining and enduring collaborations of his career were with David Hockney.

The two first met at Editions Alecto, sparking a friendship and creative partnership that would span decades. Their collaboration began in 1966 with Illustrations for Fourteen Poems from C.P. Cavafy, a portfolio of thirteen etchings. Despite the technical demands of the project, both remembered it as remarkably fluid—an early sign of their natural synergy. The unique rapport between artist and printer is rare, and it resonates throughout the many works they produced together.

In 1976–77, Payne printed Hockney’s acclaimed series The Blue Guitar. Not long after, he moved to California in 1977 to become Hockney’s assistant. Their partnership resumed two decades later, in 1998, when Payne set up a print studio in Los Angeles, where Hockney was then based. Working closely once again, Payne would bring prepared plates to Hockney’s Hollywood Hills home, allowing the artist to draw domestic scenes and characters as inspiration struck throughout the day. These intimate, home-based images stood in contrast to the expansive Western landscapes Hockney was simultaneously exploring in his painting practice.

Their 1998 print Maurice captures the essence of their collaboration. Featuring Hockney’s signature line work and enriched with textures from unconventional tools like wire brushes, it reflects the spirit of innovation that defined their process. For both artist and printer, printmaking was more than a craft—it was a shared adventure in experimentation and discovery.