Made In April
Made In April
Signed Print
David Hockney
£1,350-£2,050
$2,650-$4,000 Value Indicator
$2,400-$3,650 Value Indicator
¥12,500-¥19,000 Value Indicator
€1,600-€2,450 Value Indicator
$13,500-$21,000 Value Indicator
¥260,000-¥400,000 Value Indicator
$1,750-$2,650 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: Intaglio
Edition size: 200
Year: 1977
Size: H 53cm x W 46cm
Signed: Yes
Format: Signed Print
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2023 | Rago - United States | Made In April - Signed Print | |||
| September 2023 | Phillips London - United Kingdom | Made In April - Signed Print | |||
| September 2022 | Leslie Hindman Auctioneers, Chicago - United States | Made In April - Signed Print | |||
| September 2022 | Bonhams Knightsbridge - United Kingdom | Made In April - Signed Print | |||
| March 2022 | Bonhams Los Angeles - United States | Made In April - Signed Print | |||
| December 2021 | Forum Auctions London - United Kingdom | Made In April - Signed Print | |||
| September 2018 | Forum Auctions London - United Kingdom | Made In April - Signed Print |
Meaning & Analysis
Featuring lines from Wallace Stevens’s poem ‘The Blue Guitar’, David Hockney’s Made in April is one of the more serene compositions in the portfolio named after the literary work. Rendered in the blue and red ink most associated with this series, the work reproduces the text backwards, as if read in a mirror or on the etching plate. The words are framed by delicate outlines of a guitar and somewhat obscured by blobs of watery ink. Interestingly, the letters of the words alternate in colour as if the artist wished to show off his newfound ability to use the sugar lift aquatint technique that allowed him to bring more colour to his etchings. This is the only work in the series to feature words from the poem, making it a contrast with the strange scenes and surreal compositions that make up the majority of the portfolio, which was, as Hockney put it, never intended to illustrate but to accompany. Remarking on their relation to the poem he said, “Like the poem, they are about transformations within art as well as the relation between reality and the imagination, so these are pictures and different styles of representation juxtaposed and reflected and dissolved within the same frame”.
