$40,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥200,000-¥320,000 Value Indicator
€25,000-€40,000 Value Indicator
$220,000-$350,000 Value Indicator
¥4,110,000-¥6,550,000 Value Indicator
$28,000-$45,000 Value Indicator
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.
Signed Print Edition of 50
H 87cm x W 105cm
|Auction Date||Auction House||Artwork|
Return to Seller
|March 2023||Sotheby's New York - United States||Green Bora Bora - Signed Print|
|April 2022||Sotheby's New York - United States||Green Bora Bora - Signed Print|
|October 2021||Christie's New York - United States||Green Bora Bora - Signed Print|
|December 2020||Bonhams New Bond Street - United Kingdom||Green Bora Bora - Signed Print|
|October 2020||Phillips New York - United States||Green Bora Bora - Signed Print|
|May 2017||Freeman's - United States||Green Bora Bora - Signed Print|
|September 2010||Christie's London - United Kingdom||Green Bora Bora - Signed Print|
Green Bora Bora (1980) is a signed lithographic print by David Hockney depicting a quiet marine landscape of a small South Pacific Island in French Polynesia. Hockney’s visit to the island with Gregory Evans resulted in a series of vibrant, colourful crayon drawings of houses, exotic flowers, and palm trees, all exhibiting a recognizably buoyant idiom that will characterise the artist’s later famous paintings, such as Pool And Pink Pole (1984).
Here, Hockney favours the minimalism of means and composition, maintaining the image in one dominant style and colour. The scene is composed entirely from curved turquoise lines that flow freely across the image, designed to convey feelings of quietness and serenity. A difference in the size and arrangement of lines between the right and left side differentiates sea waters from the beach area. The pattern created on the left side, in particular, shares a strong visual affinity with Henry Matisse’s environmental mural The Parakeet And The Mermaid (1952) given the flat, poster-like quality of the playfully arranged marks. The artist commented in the context of his favourite theme: “It is a formal problem to represent water, to describe water, because it can be anything. It can be any colour, it’s movable, and it has no set visual description.”