In the Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), David Hockney chronicles the atmospheric changes from winter to summer. The artist worked en plein air, in the tradition of a long lineage of landscape artists who desired to capture the immediacy of the outdoors. Just as these artists utilized the innovation of paint in tubes to take their work outside of the studio, Hockney also realized the potential present in the latest technology of his time: the iPad.

 

 

 

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Introduction

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Hockney began drawing with software apps with his first iPhone in 2008 and progressed to the iPad in 2010. In the series, Hockney returned to specific locations in order to repeat the same subject under varying conditions of time and weather. The tree stump present in this work is one such motif Hockney revisits several times. The drawings juxtapose the passage of time with the fixed nature of a place like East Yorkshire, which Hockney has remarked has stayed much the same throughout the years. These repetitive observations are similar to Claude Monet’s meditations on light in his series of haystacks or the façade of the Rouen Cathedral.

Left: Claude Monet, Stacks of Wheat (End of Summer), 1890/91, Art Institute of Chicago. Image: Art Institute of Chicago, Gift of Arthur M. Wood, Sr. in memory of Pauline Palmer Wood
Right: Claude Monet, Wheatstacks, Snow Effect, Morning, 1891, J. Paul Getty Museum, Los Angeles. Image: Courtesy of Getty’s Open Content Program

David Hockney’s seminal series, the Arrival of Spring in Woldgate, East Yorkshire, is an epic of nature that documents both the subtlety and the drama of winter’s transformation into spring. The series, which consists of sixty-one iPad drawings, was conceived in anticipation of the artist’s landmark 2012 retrospective, A Bigger Picture, at the Royal Academy in London. In preparation, the artist returned to his late-mother’s Bridlington home in 2006, so that he could experience and record five Yorkshire springs, focusing on the nearby Woldgate Woods. Commencing on New Year’s Day, 2011, and culminating in early June, the Arrival of Spring sequence chronicles how winter’s icy roads, violet mists and frosted branches gradually bloom into the luscious greens, clear skies and blossoming flora of late spring.

Left: John Constable, Dedham Vale: Morning, circa 1811. Image: Bridgeman Images
Right: John Constable, Dedham Vale from Langham, circa 1812, Ashmolean Museum, Oxford. Image: © Ashmolean Museum / Bridgeman Images

The series builds on a canonical history of artists who have embarked on sustained studies of specific landscapes at different times of day, month and year. For instance, the Arrival of Spring series draws close parallels to Claude Monet’s forensic observation of the shifting light and changing atmosphere of the Giverny landscape. Similarly, Hockney’s seasonal sequence recalls John Constable’s sustained focus on the gently rolling hills of the Dedham Vale. Like both Monet and Constable, Hockney worked en plein air. This plays a central part in the key preoccupation underlying all three groups of works: the transience of light, color, the changing of seasons and the passing of time. This enduring concern engenders the fleeting light and seasonal atmosphere to become as much a part of each composition’s subject as the landscape itself.

 

From its topographical origins to richly allegorical vistas, landscape painting is often considered one of the most traditional artistic genres. In the wake of the Italian Renaissance, European Academies (led by the art-theoretician Andre Felibien) relegated Landscape painting to being the fourth of five controversial hierarchies of genres, based on the supposed inherent moral force of each subject. Landscape painting was considered less valuable than compositions including figures which could be used as vehicles for the artist to communicate a moral or historic narrative. This draconian hierarchy of the 18th Century Parisian Salons naturally prompted rebellion. Under the wheels of change brought by the Industrial Revolution, British artists John Constable and William Turner alongside those from the Barbizan and Impressionist groups in France chose to celebrate scenery for its own sake instead of merely as a background for human narrative.

Left: David Hockney, Pearblossom Hwy., 11 – 18th April 1986, #2, 1986. Image: J. Paul Getty Museum, Los Angeles, Artwork: © David Hockney.
Right: David Hockney, Garrowby Hill, 1998. Image: Prudence Cuming Associates, Artwork: © David Hockney.

Informed by this affirmation of landscape painting, David Hockney has continually cast his eye to his surroundings, depicting the landscapes of California, Yorkshire and Normandy with an enduring concern to depict light, color, the changing of seasons and the passing of time. Ever the innovator, as technologies have developed so have Hockney’s artist methods for capturing and recording the world around him. Nature, the age-old bucolic subject, is treated and transformed by Hockney with his modern and adaptable eye. From the jagged new world view he created in the photography collage of Pearblossom Hwy., 11 – 18th April 1986, #2 (1986), to the distorted saturation of Garrowby Hills (1998), and the immediacy of his iPad drawings in The Arrival of Spring, Woldgate series, Hockney’s approach to such a traditional subject matter has constantly evolved. His interest in the art historical past has always been a practical one: he wants to know how things were made and find inventive, contemporary equivalents.

“I realized to show the full arrival of spring, you have to start in the winter and go into the summer a bit, and then you see all the differences and all the rich things that happen to each tree” 

The Arrival of Spring series was one of Hockney’s earliest forays into iPad drawing. The newly-released iPad enabled a new sense of immediacy – he worked quickly and intensely, building up layers with a highly saturated palette and a wide variety of painterly effects. Despite the digital nature of the medium, the final, physical artwork remained in the forefront of Hockney’s mind. He would experiment with printing his drawings directly from the iPad in different variations.

“What is really good about it is its speed. No other medium using color is as fast, meaning you can capture quick lighting effects like nothing else. The spring is just spectacular this year and I am getting it down…”

Once the scale of the printed images was settled, this directly influenced the mark making and composition of Hockney’s iPad draughtsmanship. The final prints were produced on large-scale paper and arranged as a grand narrative cycle at the Royal Academy’s exhibition. Ever the innovator, Hockney used this pioneering technique to reinvent and revitalise the most traditional of subjects.

A group of 51 iPad drawings culminated in a landmark exhibition at the Royal Academy in 2012 exhibited with a gigantic oil landscape with the same title as the series. As the title indicates, spring was central to the theme.

“In 2011 there was a wonderful spring, and I had planned to record it.” 

David Hockney later released 49 of the drawings as printed with dimensions of 55 x 41 1/2 inches, in an edition of 25, and a group of 12 in a larger size, 93×70 inches, in an edition of 10.

Source: The David Hockney Foundation
The Arrival of Spring in 2011 (twenty eleven) (thedavidhockneyfoundation.org)

The ambitious project was debuted in a dedicated gallery in David Hockney: A Bigger Picture at the Royal Academy of Arts, London the following year. Dating from 4 May—during what Hockney called ‘Action Week’ for its profusion of blossoms—the present drawing sees a sunlit tree rising from lush, verdant undergrowth, with the forest and flashes of blue sky visible behind. Using the iPad’s rich palette of digital brushstrokes, Hockney conjures a vivid, textural sense of life and light. The work exemplifies his mastery of this new tool, which came at a time when he was deeply engaged with the tradition of landscape painting and celebrating the beauty of his native Yorkshire.

“Technology always has contributed to art.
The brush itself is a piece of technology, isn’t it?”

 

David Hockney: A Bigger Picture was a pivotal survey of Hockney’s landscape practice, focused particularly on the developments of the new millennium. Having made frequent visits to friends and family during the previous decade, Hockney had returned to Yorkshire in 2004. Though seemingly worlds apart from the Californian scenes which had defined the earlier part of his career, he came to see the splendor in his homeland’s ever-changing forests, fields and hedgerows. Reconnecting with his roots and profoundly inspired by locations such as Woldgate, he began to work outdoors, channeling the influence of Constable, van Gogh, Monet and Turner as he captured the shifting seasons across several successive years. Made alongside oil paintings, drawings and innovative digital video works, Hockney’s iPad drawings formed part of this radiant love letter to the land.

Vincent van Gogh, Boomstammen in het gras, 1890. Kröller-Müller Museum, Otterlo. Digital image: Scala Florence/Heritage Images.

Hockney used an iPad app called Brushes, which offers brushstrokes between one and 64 pixels wide and in variously broken or solid textures. Color can be layered and opacity adjusted; a pinch of the fingers zooms in or out, and there is no waiting for paint to dry. The drawings can be printed on a large scale without pixelation.

“Turner would have loved it. You can be very, very subtle with transparent layers.”

He exploits its full range in the present work. The scene’s heightened tones and luminous, finely-observed details lend it a visionary charge worthy of van Gogh. Myriad greens build the undergrowth, which is lit up by the pink sparks of red campion, a flower that blooms after the bluebells in early May. The tree’s boughs burst outwards like a candelabra, with olive-toned shadows modelling the trunk. The forest is a Pointillist haze of green, brown and blue. Spidery lines pick out high-up branches, and sprays of orange and lime-green convey sunlight falling on leaves and bark.

Claude Monet, Le Jardin de l’artiste à Giverny, 1900. Musée d’Orsay, Paris.
Digital image: © Frank Buffetrille. All rights reserved 2025 / Bridgeman Images.

“You can get things down very fast, meaning you can capture quick lighting effects like nothing else. The spring is just spectacular this year and I am getting it down … I am very confident it will be one of my major works.”

Always interested in new technology, Hockney had made works with Polaroid photographs, photocopies and faxes during the 1980s, and produced images on an Apple Macintosh computer as early as 1991. The responsiveness and chromatic fidelity of the iPad, however, allowed him a newly direct mode of creation. The digital tools were finally able to match, in real time, his rapid draughtsmanship and vivid eye for color. Hockney worked en plein air to lay down the basis for the works before refining them further in the studio.

 

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The Arrival of Spring in Woldgate, 2011

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The Arrival of Spring in Woldgate, East Yorkshire in 2021 (twenty eleven) 

Medium: iPad drawing in colors printed on wove paper
Year: 2011
Sheet: 55×42 inches (139.7 x 106.7 cm)
Image: 50×38 inches (127 x 96.5 cm)
Edition: 25
Publisher: The Artist

Numbered in pencil (lower left)
Signed and dated in pencil (lower right)

January 2011

February 2011

March 2011

April 2011

May 2011

June 2011

 

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Auction Market Overview

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David Hockney released 49 prints in 55×42 inches in size, each in an edition of 25, or a total of 1,225 prints. Furthermore, the artist has released a smaller group of 12 visuals in a larger size, 92×70 inches, in an edition of 10.

Auction Summary

 

2025 Auction Highlights

34 prints from the series (regular edition /25) sold at auction in 2025 for a total turnover of USD 14,527,465. This is a record year for the series at auction. With no lot failing to sell, the sell-through rate is 100%. The average price for 2025 is USD 427,278.

2025 Top 3 Lots

This radical increase is due to the exceptional white glove sale of 17 prints from a single collection held at Sotheby’s in London on 17 October 2025, for a total of GBP 6,210,300 (USD 8,343,538). The average price was a very strong GBP 365,312 (USD 490,796), with one print (19 February) selling for GBP 762,000 (USD 1,023,745), crossing the USD 1 million threshold for the first time.

“It was a wonderful Spring, and we always planned to record it
I just didn’t realize the iPad would be part of it then.”

White Glove Sale
17 Lots
GBP 6,210,300 / USD 8,343,538

Furthermore, Sotheby’s sold 8 more prints from the same collection in New-York, on 20 November 2025 for a total turnover of USD 4,343,400. 12 lots sold for more than USD 500,000 in 2025, generating a cumulative turnover of USD 8,284,239, representing 57% of the total turnover for 2025 (regular edition of 25 only).

Finally, 3 prints from the large-size edition (/10) sold for a total turnover of USD 1,501,248.

 

 

2024 Auction Highlights

7 prints from the series  sold at auction in 2024 (regular edition /25) for a total turnover of USD 1,531,328. With no lot failing to sell, the sell-through rate is 100%. 1 lot (30 March) sold for more than USD 300,000.

2024 Top 3 Lots

5 lots sold for more than USD 200,000, generating a cumulative turnover of USD 1,237,395, representing 80.8% of the total for 2024. All lots sold for more than USD 100,000.

Furthermore, one large size (2 June) sold at Phillips, in London, on 27 June 2024, for  GBP 406,400 (USD 515,315). Another large size (16 May) was passed at Phillips, in London, on 19 September 2024.

2023 Auction Highlights

22 prints from the series sold at auction in 2023 for a total turnover of USD 3,446,977, at an average price of USD 156,681. With no lot failing to sell, the sell-through rate is 100%.

The highest price was achieved at Bonhams in London in 19 April 2023 for 6 May that sold for GBP 277,500 (USD 345,235). This is the only lot that sold for more than USD 300,000.

2023 Top 3 Lots

18 prints sold for more than USD 100,000, generating a cumulative turnover of USD 3,068,807, representing 89% of the total turnover for 2023. 5 prints sold for more than USD 200,000, generating a cumulative turnover of USD 1,327,505, representing 38.5% of the total turnover of 2023.

2022 Auction Highlights

6 prints from the series sold at auction in 2022 for a total turnover of USD 1,399,992, at an average price of USD 233,332. With no lot failing to sell, the sell-through rate is 100%.

The highest price was achieved by 30 May that sold at Phillips in London, on 13 September 2022 for GBP 340,200 (USD 397,675).

2022 Top 3 Lots

5 prints sold for more than USD 100,000. 3 prints sold for more than USD 200,000, generating a cumulative turnover of USD 1,038,029, representing 74.1% of the total turnover for 2022.

Furthermore, 2 prints from the more exclusive (edition of 10) larger size, for a total turnover of USD 1,162,032.

 

 

 

 

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2026 Auction Results

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The Arrival of Spring in Woldgate – 19 March, 2011

Sotheby’s Ryiadh: 31 January 2026
Estimated: USD 150,000 – 200,000
USD 406,400

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 19 March, 2011
iPad drawing printed in colors on wove paper
Signed David Hockney and dated 11 (lower right)
Numbered 15/25 (lower left)
This impression is number 15 from the edition of 25
Published by the artist

The Arrival of Spring in Woldgate – 5 May, 2011

Sotheby’s Ryiadh: 31 January 2026
Estimated: USD 100,000 – 150,000
USD 355,600

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 5 May, 2011
iPad drawing printed in colors on wove paper
Signed David Hockney and dated 11 (lower right)
Numbered 15/25 (lower left)
This impression is number 15 from the edition of 25
Published by the artist

The Arrival of Spring in Woldgate – 19 April, 2011

David Hockney: The Arrival of Spring
Sotheby’s Singapore: 25 January 2026
Estimated: SGD 140,000 – 210,000
SGD 304,800 / USD 239,490

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 19 April, 2011
iPad drawing printed in colours on wove paper
Signed in pencil (lower right)
Dated and numbered 15/25 (lower left)

The Arrival of Spring in Woldgate – 23 February, 2011

David Hockney: The Arrival of Spring
Sotheby’s Singapore: 25 January 2026
Estimated: SGD 140,000 – 210,000
SGD 355,600 / USD 279,405

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 23 February, 2011
iPad drawing printed in colours on wove paper
Signed in pencil (lower right)
Dated and numbered 15/25 (lower left)

The Arrival of Spring in Woldgate – 13 January, 2011

David Hockney: The Arrival of Spring
Sotheby’s Singapore: 25 January 2026
Estimated: SGD 220,000 – 310,000
SGD 406,400 / USD 319,320

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 13 January, 2011
iPad drawing printed in colours on wove paper
Signed in pencil (lower right)
Dated and numbered 15/25 (lower left)

Phillips London: 22 January 2025
Estimated: GBP 120,000 – 180,000
GBP 206,400 / USD 277,610

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 26 April, 2011
iPad drawing in colours, printed on wove paper
Signed, dated and numbered 11/25 in pencil
Published by the artist

 

 

 

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2025 Auction Results

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34 prints from the series (regular edition /25) sold at auction in 2025 for a total turnover of USD 14,527,465. This is a record year for the series at auction. With no lot failing to sell, the sell-through rate is 100%. The average price for 2025 is USD 427,278.

2025 Top 3 Lots

This radical increase is due to the exceptional white glove sale of 17 prints from a single collection held at Sotheby’s in London on 17 October 2025, for a total of GBP 6,210,300 (USD 8,343,538). The average price was a very strong GBP 365,312 (USD 490,796), with one print (19 February) selling for GBP 762,000 (USD 1,023,745), crossing the USD 1 million threshold for the first time.

“It was a wonderful Spring, and we always planned to record it
I just didn’t realize the iPad would be part of it then.”

White Glove Sale
17 Lots
GBP 6,210,300 / USD 8,343,538

Furthermore, Sotheby’s sold 8 more prints from the same collection in New-York, on 20 November 2025 for a total turnover of USD 4,343,400. 12 lots sold for more than USD 500,000 in 2025, generating a cumulative turnover of USD 8,284,239, representing 57% of the total turnover for 2025 (regular edition of 25 only).

Finally, 3 prints from the large-size edition (/10) sold for a total turnover of USD 1,501,248.

 

 

#31. The Arrival of Spring in Woldgate – 30 March, 2011

Sotheby’s London: 5 March 2025
Estimated: GBP 120,000 – 180,000
GBP 152,400 / USD 195,070

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 30 March, 2011
iPad drawing printed on paper
Signed and dated 2011 (lower right)
Numbered 11/25 (lower left)

XXXXXXXXXX

#1. The Arrival of Spring in Woldgate – 4 May, 2011

Christie’s London: 26 June 2025
Estimated: GBP 180,000 – 250,000
GBP 504,000 / USD 690,480
LARGE FORMAT

 

DAVID HOCKNEY (B. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 4 May, 2011
iPad drawing printed on paper, in four parts, mounted on Dibond
Each: 46 1/2 x 35 inches (118.1 x 88.9 cm)
Overall: 93×70 inches (236.2 x 177.8 cm)
Signed and dated ‘David Hockney 11’ (lower right)
Numbered ‘6⁄10’ (lower centre)

#2. The Arrival of Spring in Woldgate – 31 May #1, 2011

Sotheby’s London: 25 June 2025
Estimated: GBP 200,000 – 300,000
GBP 406,400 / USD 556,770
LARGE FORMAT

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 31 May, No. 1, 2011
iPad drawing printed on four sheets of paper mounted on four sheets of Dibond
Each: 46 1/2 x 35 inches (118.1 x 88.9 cm)
Overall: 93×70 inches (236.2 x 177.8 cm)
This work is number 6 from an edition of 10

#3. The Arrival of Spring in Woldgate – 25 March, 2011

Sotheby’s New-York: 15 April 2025
Estimated: USD 300,000 – 500,000
USD 254,000
LARGE FORMAT

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 25 March, 2011
iPad drawing printed in colors on four sheets of wove paper, mounted on four sheets of dibond (as issued)
Sheet: 93 5/8 x 69 3/4 inches (235.8 x 177.1 cm)
Signed in pencil, dated and numbered 6/10

 

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2024 Auction Results

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7 prints from the series  sold at auction in 2024 (regular edition /25) for a total turnover of USD 1,531,328. With no lot failing to sell, the sell-through rate is 100%. 1 lot (30 March) sold for more than USD 300,000.

2024 Top 3 Lots

5 lots sold for more than USD 200,000, generating a cumulative turnover of USD 1,237,395, representing 80.8% of the total for 2024. All lots sold for more than USD 100,000.

Furthermore, one large size (2 June) sold at Phillips, in London, on 27 June 2024, for  GBP 406,400 (USD 515,315). Another large size (16 May) was passed at Phillips, in London, on 19 September 2024.

#1. The Arrival of Spring in Woldgate – 30 March 2011

Christie’s New-York: 25 October 2024
Estimated: USD 100,000 – 150,000
USD 327,600

DAVID HOCKNEY (B. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 30 March 2011, 2011
iPad drawing in colors on wove paper
Signed and dated in pencil, numbered 3⁄25

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USD 300,000

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The Arrival of Spring in Woldgate – 2 June, 2011

Phillips London: 27 June 2024
Estimated: GBP 280,000 – 350,000
GBP 406,400 / USD 515,315
LARGE FORMAT

David Hockney – Modern & Contemporary Ar… Lot 7 June 2024 | Phillips

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Lots Passed

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Phillips London: 19 September 2024
Estimated: GBP 280,000 – 400,000
LARGE FORMAT
PASSED

 

 

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2023 Auction Results

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22 prints from the series sold at auction in 2023 for a total turnover of USD 3,446,977, at an average price of USD 156,681. With no lot failing to sell, the sell-through rate is 100%.

The highest price was achieved at Bonhams in London in 19 April 2023 for 6 May that sold for GBP 277,500 (USD 345,235). This is the only lot that sold for more than USD 300,000.

2023 Top 3 Lots

18 prints sold for more than USD 100,000, generating a cumulative turnover of USD 3,068,807, representing 89% of the total turnover for 2023. 5 prints sold for more than USD 200,000, generating a cumulative turnover of USD 1,327,505, representing 38.5% of the total turnover of 2023.

 

 

#1. The Arrival of Spring in Woldgate – 6 May, 2011

Bonhams London: 19 April 2023
Estimated: GBP 100,000 – 150,000
GBP 277,500 / USD 345,235

#2. The Arrival of Spring in Woldgate – 2 January, 2011

Phillips London: 21 September 2023
Estimated: GBP 80,000 – 120,000
GBP 228,600 / USD 281,146

#3. The Arrival of Spring in Woldgate – 31 May, No. 2, 2011

Phillips London: 18 January 2023
Estimated: GBP 100,000 – 150,000
GBP 214,200 / USD 264,869

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 31 May, No. 2, 2011
iPad drawing in colors, printed on wove paper
Signed, dated and numbered 16/25 in pencil

#4. The Arrival of Spring in Woldgate – 17 May, 2011

Phillips London: 18 January 2023
Estimated: GBP 100,000 – 150,000
GBP 189,000 / USD 233,708

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 17 May, 2011
iPad drawing in colors, printed on wove paper
Signed, dated and numbered 22/25 in pencil

#5. The Arrival of Spring in Woldgate – 18 January, 2011

Phillips London: 18 January 2023
Estimated: GBP 80,000 – 120,000
GBP 189,000 / USD 202,547

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 18 January, 2011
iPad drawing in colors, printed on wove paper
Signed, dated and numbered 9/25 in pencil

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USD 200,000

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#6. The Arrival of Spring in Woldgate – 30 March, 2011

Sotheby’s London: 13 October 2023
Estimated: GBP 70,000 – 100,000
GBP 139,700 / USD 170,199

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 30 March, 2011
iPad drawing printed on paper
139.7 x 105.4 cm (55 x 41 1/2 inches)
Signed and dated 2011 (lower right), numbered 11/25 (lower left)

#7. The Arrival of Spring in Woldgate – 13 January, 2011

Phillips London: 18 January 2023
Estimated: GBP 100,000 – 150,000
GBP 132,300 / USD 163,595

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 13 January, 2011
iPad drawing in colors, printed on wove paper
Signed, dated and numbered 20/25 in pencil

Seoul Auction: 26 September 2023
Estimated: KRW 170,000,000 – 300,000,000
KRW 170,000,000 (Hammer)
KRW 220,000,000 / USD 163,264

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 22 May, 2011
iPad drawing in colors printed on wove paper
Signed, dated and numbered 8/25 in pencil

#9. The Arrival of Spring in Woldgate – 18 March, 2011

Bonhams Hong-Kong: 27 May 2023
Estimated: HKD 600,000 – 1,000,000
HKD 1,083,500 / USD 138,328

#10. The Arrival of Spring in Woldgate – 4 May, 2011

Phillips Hong-Kong: 25 May 2023
Estimated: HKD 680,000 – 850,000
HKD 1,079,500 / USD 137,784

#18. The Arrival of Spring in Woldgate – 16 March 2011

#19. The Arrival of Spring in Woldgate – 22 May 2011

Sotheby’s London: 2 March 2023
Estimated: GBP 80,000 – 120,000
GBP 82,550 / USD 98,555

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woodgate, East Yorkshire in 2011 (twenty eleven) – 22 May, 2011
iPad drawing printed on paper
Signed, dated 11 and numbered 7/25 

#20. The Arrival of Spring in Woldgate – 19 March 2011

Bonhams London: 12 December 2023
Estimated: GBP 70,000 – 100,000
GBP 76,600 / USD 96,160

Bonhams London: 7 November 2023
Estimated: GBP 60,000 – 80,000
GBP 70,250 / USD 87,760

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2022 Auction Results

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6 prints from the series sold at auction in 2022 for a total turnover of USD 1,399,992, at an average price of USD 233,332. With no lot failing to sell, the sell-through rate is 100%.

The highest price was achieved by 30 May that sold at Phillips in London, on 13 September 2022 for GBP 340,200 (USD 397,675).

2022 Top 3 Lots

5 prints sold for more than USD 100,000. 3 prints sold for more than USD 200,000, generating a cumulative turnover of USD 1,038,029, representing 74.1% of the total turnover for 2022.

Furthermore, 2 prints from the more exclusive (edition of 10) larger size, for a total turnover of USD 1,162,032.

 

 

#1. The Arrival of Spring in Woldgate – 30 May 2011

Phillips London: 13 September 2022
Estimated: GBP 120,000 – 180,000
GBP 340,200 / USD 397,675

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 30 May, 2011
iPad drawing in colors printed on wove paper
Signed, dated and numbered 16/25 in pencil

#2. The Arrival of Spring in Woldgate – 19 February 2011

Phillips London: 13 September 2022
Estimated: GBP 100,000 – 150,000
GBP 315,000 / USD 363,154

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 19 February, 2011
iPad drawing in colors printed on wove paper
Signed, dated and numbered 11/25 in pencil

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USD 300,000

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#3. The Arrival of Spring in Woldgate – 17 April 2011

Phillips New-York: 19 May 2022
Estimated: USD 150,000 – 200,000
USD 277,200

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2021 (twenty eleven) – 17 April, 2011
iPad drawing printed on paper
Numbered “9/25” lower left
Signed and dated “David Hockney 11.” lower right

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USD 200,000

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#4. The Arrival of Spring in Woldgate – 19 February 2011

K Auction: 24 August 2022
Estimated: KRW 170,000,000 – 250,000,000
KRW 195,500,000 / USD 145,955

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven) – 19 February, 2011
iPad drawing in colors on wove paper
Signed, dated and numbered 19/25 in pencil

#5. The Arrival of Spring in Woldgate – 24 April 2011

Christie’s New-York: 8 March 2022
Estimated: USD 70,000 – 100,000
USD 119,700

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 24 April 2011
iPad drawing in colors
Signed and dated in pencil, numbered 16⁄25

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USD 100,000

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#6. The Arrival of Spring in Woldgate – 24 April 2011

Phillips Hong-Kong: 21 June 2022
HKD 700,000 – 900,000
HKD 756,000 / USD 96,308

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven) – 24 April, 2011
iPad drawing in colors on wove paper
Numbered ’21/25′ lower left
Signed and dated ‘David Hockney 2011’ lower right

XXXXXXXXXX

#1. The Arrival of Spring in Woldgate – 4 May 2011

Phillips London: 3 March 2022
Estimated: GBP 180,000 – 250,000
GBP 504,000 / USD 674,410
LARGE FORMAT

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 4 May, 2011
iPad drawing printed on four sheets of paper and mounted on four sheets of Dibond
Overall: 235 x 166.7 cm (92 1/2 x 65 5/8 inches)
Signed and dated ‘David Hockney 2011.’ lower right; numbered ‘9/10’ lower centre
Executed in 2011, this work is number 9 from an edition of 10

#2. The Arrival of Spring in Woldgate

Sotheby’s Hong-Kong: 15 December 2022
Estimated: HKD 3,000,000 – 5,000,000
HKD 3,780,000 / USD 487,622
LARGE FORMAT

DAVID HOCKNEY (b. 1937)
The Arrival of Spring in Woldgate, East Yorkshire in 2011, 2011
iPad drawing printed on four sheets of paper, mounted on four sheets of Dibond
Overall: 92 7/8 x 70 inches (236.2 x 177.8 cm)
Signed, dated 2011 and numbered 8/10

 

 

 

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2021 Auction Results

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#1. The Arrival of Spring in Woldgate – 19 February, 2011

Seoul Auction: 23 November 2021
Estimated: KRW 70,000,000 – 200,000,000
KRW 287,500,000 / USD 241,455

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 19 February, 2011
iPad drawing printed in colors
Signed in pencil, dated and numbered 3/25

#3. The Arrival of Spring in Woldgate – 16 March, 2011

Seoul Auction: 24 August 2021
Estimated: KRW 120,000,000 – 180,000,000
KRW 207,000,000 / USD 177,815

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 16 March, 2011
iPad drawing printed in colors
Signed in pencil, dated and numbered from the edition of 25

#4. The Arrival of Spring in Woldgate – 1 January, 2011

Sotheby’s New-York: 21 October 2021
Estimated: USD 70,000 – 100,000
USD 176,400

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 1 January, 2011
iPad drawing printed in colors
Signed in pencil, dated and numbered 22/25

#5. The Arrival of Spring in Woldgate – 5 May, 2011

Bonhams London: 23 June 2021
Estimated: GBP 40,000 – 60,000
GBP 125,250 / USD 175,205

#6. The Arrival of Spring in Woldgate – 22 May, 2011

Artnet Auctions: 14 October 2021
Estimated: USD 70,000 – 100,000
USD 100,000

DAVID HOCKNEY
The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 22 May, 2011
iPad drawing printed in colors
Signed in pencil, dated and numbered 7/25

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2020 Auction Results

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The Arrival of Spring in Woldgate – 17 April, 2011

Seoul Auction: 29 October 2020
Estimated: KRW 80,000,000 – 150,000,000
KRW 143,750,000 / USD 126,510

The Arrival of Spring in Woldgate – 24 April, 2011

K Auction Seoul: 26 November 2020
Estimated: KRW 80,000,000 – 150,000,000
KRW 97,750,000 / USD 88,340

The Arrival of Spring in Woldgate – XXXX

Sotheby’s London: 22 October 2020
Estimated: GBP 30,000 – 40,000
GBP 81,900 / USD 107,245

DAVID HOCKNEY (b. 1937)
THE ARRIVAL OF SPRING IN WOLDGATE, EAST YORKSHIRE IN 2011
IPad drawing printed on paper
Signed, dated 11 and numbered 9/25

The Arrival of Spring in Woldgate – 23 April, 2011

Sotheby’s London: 20 August 2020
Estimated: GBP 30,000 – 40,000
GBP 47,880 / USD 

DAVID HOCKNEY (b. 1937)
THE ARRIVAL OF SPRING IN WOLDGATE, EAST YORKSHIRE IN 2011 – 23 APRIL 2011
IPad drawing printed on paper
Signed, dated 11 and numbered 21/25

 

 

 

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The 49 Prints of The Arrival of Spring

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1 January 2011

2 January 2011

3 January 2011

4 January 2011

8 January 2011

13 January 2011

18 January 2011

29 January 2011

19 February 2011

23 February 2011

25 February 2011

5 March 2011

14 March 2011

15 March 2011

16 March 2011

18 March 2011

19 March 2011

21 March 2011

22 March 2011

25 March 2011

30 March 2011

1 April 2011

12 April No. 1 2011

12 April No. 2 2011

14 April 2011

17 April 2011

19 April 2011

23 April 2011

24 April 2011

25 April 2011

26 April 2011

27 April 2011

28 April 2011

30 April 2011

4 May 2011

5 May 2011

6 May 2011

11 May 2011

12 May 2011

14 May 2011

16 May 2011

17 May 2011

18 May 2011

19 May 2011

22 May 2011

30 May 2011

31 May no. 1 2011

31 May No. 2 2011

2 June 2011