The Arrival Of Spring In Woldgate East Yorkshire 17th April 2011
The Arrival Of Spring In Woldgate East Yorkshire 17th April 2011
Signed Print
David Hockney
£100,000-£150,000
$210,000-$310,000 Value Indicator
$190,000-$280,000 Value Indicator
¥960,000-¥1,440,000 Value Indicator
€120,000-€180,000 Value Indicator
$1,040,000-$1,550,000 Value Indicator
¥19,620,000-¥29,420,000 Value Indicator
$130,000-$200,000 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: 25
Year: 2011
Size: H 140cm x W 105cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2022 | Phillips New York | United States | |||
| June 2017 | Phillips London | United Kingdom |
Meaning & Analysis
The Arrival Of Spring In Woldgate East Yorkshire 17th April 2011 belongs to the series of iPad prints entitled The Arrival of Spring 2011, in which David Hockney produced 49 drawings of the countryside of his native Yorkshire which he had returned to in the late 2000s.
In 2010 Apple released the iPad and Hockney’s practice was transformed. This new digital sketchbook allowed him to become even more prolific in his old age, transforming his drawings into digital prints that could be disseminated widely. Beginning in January and ending in early June, the works show the transformation of a country lane which starts as an unforgiving winter landscape and ends in a verdant celebration of life. With 17th April we find the first signs of leaves returning to the branches in a composition dominated by bright greens and soft pinks which seem to denote sunset. As with many of the prints in this series Hockney has chosen to include the road that divides the greenery as well as a crumbling wall, perhaps in order to remind us of the human presence in this scene. Combining fine lines with gestural marks and hazy washes of colour, Hockney uses the iPad to recreate some of his earlier work across etching, lithography and screen printing. Here we see the artist truly connect with his medium which requires no intermediary, no screen, no plate or assistant. Instead the iPad becomes just another page in his sketchbook, offering an immediate and spontaneous recording of the beauty of nature.
