The Arrival Of Spring In Woldgate East Yorkshire 16th May 2011
The Arrival Of Spring In Woldgate East Yorkshire 16th May 2011
Signed Print
David Hockney
£100,000-£150,000
$190,000-$290,000 Value Indicator
$180,000-$270,000 Value Indicator
¥920,000-¥1,390,000 Value Indicator
€120,000-€180,000 Value Indicator
$1,010,000-$1,510,000 Value Indicator
¥19,540,000-¥29,300,000 Value Indicator
$130,000-$190,000 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 | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2020 | Sotheby's Online - United Kingdom | The Arrival Of Spring In Woldgate East Yorkshire 16th May 2011 - Signed Print | |||
| October 2018 | Phillips New York - United States | The Arrival Of Spring In Woldgate East Yorkshire 16th May 2011 - Signed Print |
Meaning & Analysis
After spending around four decades in California, Hockney returned to his native Yorkshire in the late 2000s. Here he began paying attention to the landscapes that surrounded him, the tree lined roads, the light filled woods and the rolling fields. In The Arrival Of Spring In Woldgate East Yorkshire 16th May 2011 we see him towards the end of his project to document this as part of the series entitled The Arrival of Spring, which starts on 1 January and ends in early June of 2011, and much of the blossom is already out. The vegetation which was once sparse and melancholy in winter has come back to life, and the trees and shrubs, flowers and hedges are once again crowding together to greet the viewer with a fanfare of natural beauty. A road or track strikes a path through the centre of the composition, providing both a vanishing point and a reminder of man’s imposition on this scene. As viewers we are faced with a route, embodying the artist’s viewpoint to consider ourselves in the scene. Hockney first began using an iPad in 2010 when he took the device to Yosemite in California. Here we see him using it to produce quick drawings of his more immediate surroundings which could then be printed as inkjet editions.
