Four Flowers In Still Life
Four Flowers In Still Life
Signed Print
David Hockney
£23,000-£35,000 VALUE (EST.)
$45,000-$70,000 VALUE (EST.)
$40,000-$60,000 VALUE (EST.)
¥200,000-¥310,000 VALUE (EST.)
€26,000-€40,000 VALUE (EST.)
$220,000-$330,000 VALUE (EST.)
¥4,170,000-¥6,340,000 VALUE (EST.)
$28,000-$45,000 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.
Lithograph, 1990
Signed Print Edition of 50
H 53cm x W 81cm
TradingFloor
Your collection tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
Track value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2017 | Phillips London - United Kingdom | Four Flowers In Still Life - Signed Print | |||
| March 2016 | Christie's New York - United States | Four Flowers In Still Life - Signed Print | |||
| April 2014 | Christie's New York - United States | Four Flowers In Still Life - Signed Print | |||
| October 2013 | Christie's New York - United States | Four Flowers In Still Life - Signed Print | |||
| October 2012 | Wright - United States | Four Flowers In Still Life - Signed Print | |||
| June 2012 | Koller Zurich - Switzerland | Four Flowers In Still Life - Signed Print | |||
| October 2010 | Sotheby's New York - United States | Four Flowers In Still Life - Signed Print |
Meaning & Analysis
Recalling the style of works such as Table Flowable or the Home Made Prints series, this lithograph aligns with many of the works Hockney was producing in the 90s. Dominated by vibrant contrasting colours, the composition is at once dynamic and flat, the vases of flowers appearing to spill over the edge of the table in this fast moving composition. Swirls of pink and clouds of white marks compete with the wobbly lines of a grid while the red tablecloth the vases sit on dominates the composition in its various sections of colour. Here Hockney is thoroughly pushing the limits of lithography, creating an almost screen print effect that sits at the intersection of figuration and abstraction. The yellow flowers themselves are barely recognisable, though the one on the left could be called a tulip. Amongst all this movement and play between background and foreground, the blue vases act as a kind of anchor in the composition, drawing our eye down and fixing the scene in space with their flat blue surface. It is details like this that mark Hockney as a master printmaker and artist; even when his subject is as straightforward as a still life of flowers he transforms his works into something that becomes increasingly hard to pin down.
