Autour De La Maison, Hiver
Autour De La Maison, Hiver
Signed Print
David Hockney
£350,000-£520,000
$680,000-$1,010,000 Value Indicator
$600,000-$890,000 Value Indicator
¥3,170,000-¥4,720,000 Value Indicator
€410,000-€610,000 Value Indicator
$3,440,000-$5,100,000 Value Indicator
¥66,620,000-¥98,970,000 Value Indicator
$440,000-$650,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Digital Print
Edition size: 15
Year: 2019
Size: H 80cm x W 1200cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2023 | Bonhams New Bond Street - United Kingdom | Autour De La Maison, Hiver - Signed Print |
Meaning & Analysis
Autour De La Maison, Hiver by David Hockney is a colour inkjet print printed on archival art paper, released in an edition of 15 in 2019. Exploring the passage of seasons in Normandy, the 2019 iPad paintings capture the cyclical nature of time, offering a heartwarming vision of nature’s consistent, unwavering beauty in the times of global unrest.
This forty-foot-long panorama was created from original line drawings, and displays a sweeping view of the French countryside with its local 17th-century vernacular architecture. Created shortly after Hockney’s exhibition at the Van Gogh Museum in Amsterdam in 2019, the print shares a strong visual affinity with Rembrandt van Rijn and Vincent Van Gogh. Signs of inspiration can be seen in Hockney’s use of Van Gogh’s favourite graphic devices, such as coloured inks and dots that cover the ground and alleys depicted in the lower part of the panorama. Offering a wide-angle, expansive view of the French countryside, the print attests to the artist’s need to experiment with the pictorial space and transform the conventional ways of looking at artworks. Hockney commented in this context: “What does the world really look like? I know it doesn’t look like photographs. The camera sees geometrically, and we must see psychologically. So what does it really look like? I think you have to draw it.”