Snow Without Colour
Snow Without Colour
Signed Print
David Hockney
£35,000-£55,000
$70,000-$110,000 Value Indicator
$60,000-$100,000 Value Indicator
¥320,000-¥510,000 Value Indicator
€40,000-€70,000 Value Indicator
$350,000-$560,000 Value Indicator
¥6,990,000-¥10,980,000 Value Indicator
$45,000-$70,000 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: Planographic print
Edition size: 38
Year: 1973
Size: H 101cm x W 81cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2022 | Sotheby's New York - United States | Snow Without Colour - Signed Print | |||
| September 2020 | Sotheby's Online - United Kingdom | Snow Without Colour - Signed Print | |||
| May 2019 | Swann Galleries - United States | Snow Without Colour - Signed Print | |||
| May 2018 | Wright - United States | Snow Without Colour - Signed Print | |||
| March 2017 | Christie's London - United Kingdom | Snow Without Colour - Signed Print | |||
| September 2016 | Sotheby's Online - United Kingdom | Snow Without Colour - Signed Print | |||
| June 2014 | Karl & Faber - Germany | Snow Without Colour - Signed Print |
Meaning & Analysis
In Snow Without Colour we are presented with a monochrome version of Snow, Hockney’s homage to Japanese masters such as Hiroshige and Hokusai. The work forms part of the artist’s 1973 portfolio entitled The Weather series, and can be seen as a study for the finished work.
Just as accomplished as the related print, Snow Without Colour is exquisite in its details of a rolling landscape, a branch of a tree laden with snow, and the scholars’ rocks in the foreground that transport us back to Hockney’s photo collages of the Ryoanji temple in Kyoto. Elegantly framed on the sheet the work feels illustrative, as if it could be paired with a dark fairytale or an elegant haiku. What is perhaps most beautiful about the work though is the snow falling against the dark sky, suggesting this is a night scene, and recalling the ephemeral beauty of falling blossom that will come in the season after this. As well as referencing Japanese prints, the work can also be seen in relation to Hockney’s later work, where, upon returning to Yorkshire, he became a master of studying the effect of the seasons on the landscape around his hometown.
