Autour De La Maison, Été
Autour De La Maison, Été
Signed Print
David Hockney
£230,000-£350,000 VALUE (EST.)
$440,000-$660,000 VALUE (EST.)
$380,000-$580,000 VALUE (EST.)
¥2,060,000-¥3,130,000 VALUE (EST.)
€260,000-€400,000 VALUE (EST.)
$2,200,000-$3,350,000 VALUE (EST.)
¥41,790,000-¥63,590,000 VALUE (EST.)
$280,000-$430,000 VALUE (EST.)
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.
Digital Print, 2019
Signed Print Edition of 15
H 80cm x W 1200cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Christie's London - United Kingdom | Autour De La Maison, Été - Signed Print |
Meaning & Analysis
Autour De La Maison, Été by David Hockney is a 2019 signed colour inkjet print printed on archival art paper, released in an edition of 15. The artist created the work as part of a series of 116 images painted on the iPad during the coronavirus pandemic. Exploring the passage of seasons in Normandy, the 2019 digital paintings capture the cyclical nature of time, offering a heartwarming vision of nature’s consistent, unwavering beauty in times of global unrest.
40-foot-long, Autour De La Maison, Été can be seen to emulate the expansive architectural forms, such as the friezes of Greek and Roman temples. The print shows how the scale and ambition of Hockey’s projects continue to grow throughout his career. While the wide-angle view already provides the viewer with the immersive experience of the Norman landscape, the composition is complex in that it also captures the passage of time through the repetition of details across the print. A similar method was employed by Hockney in his photo collages, where similarly looking pictures of human hands and faces are placed next to one another to capture the evolution of the scene over time.
The print represents the artist’s continued 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.”
