WORK IN PROGRESS

 

David Hockney is considered one of the most influential artists of the 20th century and of the British pop art movement. A painter, printmaker, stage designer, and photographer, his unmistakable style breaks boundaries both in the rules of art and across multiple artistic movements. Born in 1937 in Bradford, England he studied at the Royal College of Art, but did not graduate on account of declining to submit an essay along with his final work. In the 1960s, his bright, figurative paintings of Los Angeles swimming pools accompanied by Californian landscapes as wells as personal subject matter including portraits of friends ignited his career. In 1963, at the age of 26, he had his first one-man show and in 1970 the White Chapel Gallery exhibited his first retrospective.

In the early 1980s, he began working in photocollage, or “joiners” as he called them, exploring movement and photography. In a recent 2016 exhibition at the National Gallery of Victoria in Melbourne, Australia, Hockney debuted a series of works created on the iPhone and iPad exhibiting his love for technology. One of the most experimental and prolific English artists working today, David Hockney’s career has spanned over 70 years. Hockney made his first etching at the age of 17, and his practice has since developed to encompass lithography, photocopy printing, and even iPad drawings.

This catalogue of Hockney’s editions is the most comprehensive catalogue in existence today. It references all the most important editions sold at auction for the past five years, including from some of the artist’s most celebrated series below.

FREE CONTENT
WORK IN PROGRESS

 

PLEASE CLICK ON ANY PICTURE TO ACCESS THE CATALOGUE ENTRY
WITH NARRATIVE AND HISTORICAL AUCTION RESULTS

 

---

Early Prints, 1954-1969

---

Self-Portrait, 1954

DAVID HOCKNEY
Self-Portrait, 1954
Lithograph printed in colors on wove paper with hand additions in pen and ink
Sheet: 29.8 x 25.8 cm
Edition: 5 known impressions
Literature: Scottish Arts Council (1), Museum of Contemporary Art Tokyo (1)

Woman with a Sewing Machine, 1954

DAVID HOCKNEY
Woman with a Sewing Machine, 1954
Lithograph in colors on cartridge paper (backed to Japan)
Sheet: 34.1 x 44.2 cm (13 3/8 x 17 3/8 inches)
Edition: 5 known impressions
Literature: Scottish Arts Council (2), Museum of Contemporary Art Tokyo (2)

Fish and Chip Shop, 1954

DAVID HOCKNEY
Fish and Chip Shop, 1954
Lithograph in colors on cartridge paper (backed to Japan)
Sheet: 16 3/8 x 14 1/4 inches (41.6 x 36.1 cm)
Edition: 5 known impressions
Literature: Scottish Arts Council (3), Museum of Contemporary Art Tokyo (3)

Myself and My Heroes, 1961

DAVID HOCKNEY
Myself and My Heroes, 1961
Etching and aquatint on handmade wove paper
Sheet: 48.7 x 71 cm (19 1/8 x 27 7/8 inches)
Edition: Approximately 50 impressions
Literature: Museum of Contemporary Art Tokyo (4)

Fires of Furious Desire, 1961

DAVID HOCKNEY
Fires of Furious Desire, 1961
Etching with aquatint on English handmade paper
Sheet: 11 1/2 x 15 1/2 inches (28.5 x 39.2 cm)
Edition: 75
Literature: Scottish Arts Council (5), Museum of Contemporary Art Tokyo (5)

Gretchen and the Snurl, 1961

DAVID HOCKNEY
Gretchen and the Snurl, 1961
Five etchings with aquatint printed on one sheet of Crisbrook handmade paper
Sheet 28.5 x 79.2 cm (11 1/4 x 31 1/8 inches)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (9)

Mirror, Mirror on the Wall, 1961

Mirror, Mirror on the Wall, 1961
Etching and aquatint printed in black and red on English handmade paper
Sheet: 18 1/2 x 22 3/8 inches (47×57 cm)
Edition: 50
Literature: Scottish Arts Council (10), Museum of Contemporary Art Tokyo (10)

Water Pouring into Swimming Pool, Santa Monica, 1964

Water Pouring into Swimming Pool, Santa Monica, 1964
Lithograph in colors on handmade Japan paper
Sheet: 20 1/8 x 25 7/8 inches (51.2 x 65.9 cm)
Edition: 75 + 16 AP
Literature: Museum of Contemporary Art Tokyo (38)

Tree, 1968

Tree, 1968
Lithograph printed in colors on on mould-made BFK Rives paper
Sheet: 25 1/2 x 19 1/2 inches (65 x 49.8 cm)
Edition: 95 + 22 AP
Literature: Scottish Arts Council (61), Museum of Contemporary Art Tokyo (61)

 

 

 

---

A Rake’s Progress, 1961-1963

---

DAVID HOCKNEY
A Rake’s Progress, 1961-1963
The complete set of 16 etchings with aquatint in black and red on Crisbrook Royal Hotpress paper
Sheet: 25 1/2 x 20 inches (64.8 x 50.8 cm)
Edition: 50 + 10 AP
Literature: Scottish Arts Council (17-32), Museum of Contemporary Art Tokyo (12-27)

 

 

---

A Hollywood Collection, 1965

---

DAVID HOCKNEY
A Hollywood Collection, 1965
The complete set of six lithographs in colors on Rives BFK paper
Largest Sheet: 76.7 x 56 cm
Edition: 85 + 12 AP + 4 TP
Literature: Scottish Arts Council (41-46), Museum of Contemporary Art Tokyo (41-46)

 

 

---

Illustrations for Six Fairy Tales from the Brothers Grimm, 1969-70

---

 

DAVID HOCKNEY
Illustrations for Six Fairy Tales from the Brothers Grimm, 1969-1970
The complete portfolio of 39 etchings (some with aquatint) on Hodgkinson handmade paper
Sheet: 18 5/8 x 12 5/8 inches (47.5 x 32.1 cm)
Edition: 100 + 20 AP
Literature: Museum of Contemporary Art Tokyo (67-105)

 

---

Weather Series, 1973

---

DAVID HOCKNEY
Weather Series, 1973
The complete set of six lithographs and screen-prints in colors on Arjomari mould-made paper
Edition: 98 + 26,25,12,26,21,21 AP
Literature: Scottish Arts Council (136-141); Museum of Contemporary Art Tokyo (127-132)

 

 

---

Twenty Photographic Pictures, 1976

---

 

DAVID HOCKNEY
Twenty Photographic Pictures, 1976
Portfolio of 20 chromogenic prints on Kodak paper mounted on board
Each image: 7 x 9 1/2 inches (17.8 x 24.2 cm) or reverse
Each sheet: 8 1/4 x 10 3/4 inches (21 x 27.4 cm) or reverse
Edition: 80 + 20 AP

 

 

 

---

The Blue Guitar, 1976-77

---

The Blue Guitar, 1976-1977
The complete set of 20 etchings in colors on Inveresk mould-made wove paper
Sheet: 18 x 20 1/2 inches (45.5 x 52 cm)
Edition: 200 + 35 AP
Literature: Scottish Arts Council (199-218); Museum of Contemporary Art Tokyo (178-197)

Wallace Stevens’ 1936 Modernist poem The Man with the Blue Guitar was inspired by Pablo Picasso’s Old Guitarist (1903-04) and explores the role of imagination in shaping reality. Taking the epochal image from Picasso’s Blue Period, Stevens transforms the blue man with a guitar, to the blue guitar – a symbol of the imagination – which appears capable of transforming objects and meaning.

Forty years later, in the summer of 1976, David Hockney was holidaying in Fire Island, New York with the writer Christopher Isherwood and the curator Henry Geldzahler, who introduced Hockney to The Man with the Blue Guitar. No stranger to the compelling influence of Picasso, David Hockney was immediately taken with Stevens’ poetic interpretation of his melancholic portrait.

Hockney had first incorporated fragments of poetry in his 1961 painting, We Two Boys Clinging Together, which integrated two lines from a Walt Whitman poem of the same title. But Stevens’ book-length poem encouraged a much greater creative output from Hockney, who embarked upon an extensive series of twenty etchings, The Blue Guitar: Etchings by David Hockney, who was inspired by Wallace Stevens, who was inspired by Pablo Picasso. 

 

---

Lithographs of Water

---

In 1964, David Hockney visited Los Angeles where he became entranced with the Southern Californian landscape, and in particular with swimming pools as unnatural waterscapes that underscored the hedonism and freedom that characterized life in California. In 1978, Hockney rented a home in the Hollywood Hills where he began a series of lithographs of swimming pools with master printer Kenneth Tyler. Each print in the series has the same matrix of a diving board over the deep-end of the pool. As the series progresses, Hockney literally “fills the pool” with various lines and colors. David Hockney’s swimming pools are widely identified as the artist’s most famous motif, embodying his fascination with post-war America and, in particular, the hedonism of California. Hockney’s swimming pools also serve as a metaphorical springboard into an extended investigation that spanned decades of his career: the formal challenge of representing water.

 

Lithograph of Water Made of Thick and Thin Lines, a Green Wash, a Light Blue Wash and a Dark Blue Wash

Lithograph of Water Made of Thick and Thin Lines, a Green Wash, a Light Blue Wash and a Dark Blue Wash, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 26×34 inches (66.2 x 86.2 cm)
Edition: 80 + 22 AP
Literature: Tyler Graphics (251), Museum of Contemporary Art Tokyo (202)

Lithograph of Water Made of Lines

Lithograph of Water Made of Lines, 1978-1980
Lithograph in two shades of cyan blue on TGL handmade paper
Sheet: 26×34 inches (65.7 x 86.4 cm)
Edition: 39 + 12 AP
Literature: Tyler Graphics (246), Museum of Contemporary Art Tokyo (203)

Lithograph of Water Made of Lines and a Green Wash

Lithograph of Water Made of Lines and a Green Wash, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 27×34 inches (68.6 x 86.5 cm)
Edition: 36 + 12 AP
Literature: Tyler Graphics (245), Museum of Contemporary Art Tokyo (204)

Lithograph of Water Made of Lines, a Green Wash, and a Light Blue Wash

Lithograph of Water Made of Lines, a Green Wash, and a Light Blue Wash, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 26 1/8 x 34 1/2 inches (66.4 x 87.5 cm)
Edition: 37 + 12 AP
Literature: Tyler Graphics (248), Museum of Contemporary Art Tokyo (205)

Lithograph of Water Made of Lines with Two Light Blue Washes

Lithograph of Water Made of Lines with Two Light Blue Washes, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 25 7/8 x 34 1/4 inches (65.4 x 86 cm)
Edition: 35 + 12 AP
Literature: Tyler Graphics (249), Museum of Contemporary Art Tokyo (206)

Lithograph of Water Made of Thick and Thin Lines and Two Light Blue Washes

Lithograph of Water Made of Thick and Thin Lines and Two Light Blue Washes, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 26 x 34 1/2 inches (66 x 87.6 cm)
Edition: 40 + 21 AP
Literature: Tyler Graphics (250), Museum of Contemporary Art Tokyo (207)

Lithograph of Water made of Thick and Thin lines and a Light Blue and a Dark Blue Wash

Lithograph of Water made of thick and thin lines and a light blue and a dark blue wash, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 25 5/8 x 34 inches (65×86 cm)
Edition: 34 + 10 AP
Literature: Tyler Graphics (251), Museum of Contemporary Art Tokyo (208)

Lithographic Water made of Lines, Crayon, and Two Blue Washes

Lithographic Water made of Lines, Crayon and Two Blue Washes, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 29 3/4 x 33 5/8 inches (75.6 x 85.4 cm)
Edition: 85 + 18 AP
Literature: Tyler Graphics (252), Museum of Contemporary Art Tokyo (209)

Lithographic Water Made of Lines

Lithographic Water Made of Lines, 1978-1980
Lithograph in cyan blue on TGL handmade paper
Sheet: 29 1/4 x 34 1/8 inches (74.3 x 86.7 cm)
Edition: 42 + 12 AP
Literature: Tyler Graphics (253), Museum of Contemporary Art Tokyo (210)

Lithographic Water Made of Lines and Crayon

Lithographic Water Made of Lines and Crayon, 1978-1980
Lithograph in cyan blue, on TGL handmade paper
Sheet: 73.5 x 87 cm (29 x 34 1/4 inches)
Edition: 42 + 12 AP
Literature: Tyler Graphics (254), Museum of Contemporary Art Tokyo (211)

Lithographic Water made of Lines, Crayon, and a Blue Wash

Lithographic Water made of Lines, Crayon, and a Blue Wash, 1978-1980
Lithograph in colors on TGL handmade paper
Sheet: 29 1/4 x 34 inches (74.2 x 86.3 cm)
Edition: 48 + 14 AP
Literature:  Tyler (255); Museum of Contemporary Art Tokyo (212)

 

---

Photocollages, 1982-1983

---

The Merced River, Yosemite Valley, 1982

The Merced River, Yosemite Valley, 1982
C-print photocollage
Sheet: 64 1/4 x 55 1/2 inches (163.2 x 141 cm)
Edition: 20

Graffiti Palace, 1982

 

Graffiti Palace, 1982
Color photograph collage on board, in artist’s frame
Sheet: 48 x 57 1/2 inches (121.9 x 146.1 cm)
Edition: 15

The Giant Buddha Nara, Feb. 18, 1982

The Giant Buddha Nara, Feb. 18, 1982
Photographic collage
Overall: 60×58 inches (152.4 x 147.3 cm)
Edition: 15

The Skater, New-York, 1982

The Skater, New-York, 1982
Collage of chromogenic prints, mounted to grey board
Overall: 25 7/8 x 19 3/8 inches (65.7 x 49.2 cm)
Edition: 20

Billy Wilder Lighting His Cigar, 1982

Billy Wilder Lighting His Cigar, 1982
Photo collage on paper
Sheet: 24 1/2 x 17 1/2 inches (61.6 x 44.5 cm)
Edition: 20

Brooklyn Bridge, 1982

Brooklyn Bridge, 1982
Chromogenic print collage on paperboard
Board: 109×58 inches (276.9 x 147.3 cm)
Edition: 20

Sunday Morning, Mayflower Hotel, New York, November 28, 1982

Sunday Morning, Mayflower Hotel, New York, November 28, 1982
Photocollage of chromogenic prints, mounted together on board
Image/Collage: approx. 40×72 inches (101.6 x 182.9 cm)
Edition: 20

Celia Making Tea, New York, December 1982

Celia Making Tea, New York, December 1982
Photographic collage mounted to green wove board
Sheet: 25 x 20 7/8 inches (63.5 x 53.3 cm)
Edition: 20

My Mother, Los Angeles, December 1982

My Mother, Los Angeles, December 1982
Photocollage on green card in original wooden frame specified by the artist
Sheet: 59 1/2 x 39 3/4 inches (151.1 x 100.9 cm)
Edition: 20

The Scrabble Game January 1, 1983

The Scrabble Game January 1, 1983
Collage of chromogenic prints, mounted to grey board
Edition: 20

 

---

Moving Focus

---

In Moving Focus, David Hockney renders furniture, terraces, dining rooms, as if he had been constantly moving his head. And the fact is that we rarely perceive our surroundings in rectangular form with stable horizontals and fixed verticals. For example, when we focus on a screen in front of us and at the same time see a scurrying shadow, the chairs at the other end of the table, a the cat scampering, the standard lamp, we are coming somewhat closer to David Hockney’s way of drawing. When Hockney turned away from naturalism in the 1980s, he also radially questioned central perspective. To do this he suddenly turned it around, shifting the vanishing point behind his back, that is to say, behind the viewer as well. For example, the table on which the vase with the amaryllis is standing, is depicted in reverse perspective.

Hockney is always preoccupied with how to unite several perspectives in one work of art. In his view, multiperspectivity corresponds how we actually perceive things, as this is shaped not only by different angles of vision, but also by emotions and feelings. Here Cubism was an important model for him as it split a motif, presenting different views of it. What is more, on a trip he undertook in 1981 Hockney discovered Chinese scrolls paintings. Those images, in extreme longitudinal or horizontal formats, have to be unrolled to be viewed. They tell their stories by capturing different factors of an event or a landscape from different perspectives.

Conversation in the Studio, 1984

Conversation in the Studio from Moving Focus, 1984
Lithograph in colors on TGL handmade paper
Sheet: 61.5 x 73.7 cm (24 1/4 x 29 inches)
Edition: 45 + 12 AP
Literature: Tyler Graphics (271), Museum of Contemporary Art Tokyo (260)

Tyler Dining Room, 1985

Tyler Dining Room from Moving Focus, 1985
Lithograph in colors on TGL handmade paper
Sheet: 31 3/4 x 39 3/4 inches (80.6 x 101 cm)
Edition: 98 + 18 AP
Literature: Museum of Contemporary Art Tokyo (261); Tyler (278)

Pembroke Studio Interior, 1984

Pembroke Studio Interior from Moving Focus, 1984
Lithograph printed in colors on TGL handmade paper, in the original artist’s frame
Sheet approx.: 40 1/4 x 49 1/4 inches (102.2 x 125.2 cm)
Edition: 70 + 18 AP
Literature: Tyler Graphics (277), Museum of Contemporary Art Tokyo (262)

Two Pembroke Studio Chairs, 1984

Two Pembroke Studio Chairs from Moving Focus, 1984
Lithograph printed in colors on HMP handmade paper
Sheet: 19×22 inches (47.9 x 55.9 cm)
Edition: 98 + 24 AP
Literature: Museum of Contemporary Art Tokyo (264); Tyler Graphics (276)

The Perspective Lesson, 1984

The Perspective Lesson from Moving Focus, 1984
Lithograph in colors on grey handmade HMP paper
Sheet: 29 3/4 x 22 inches (75.6 x 55.9 cm)
Edition: 50 + 18 AP
Literature: Tyler (284), Museum of Contemporary Art Tokyo (265)

Amaryllis in Vase, 1985

Amaryllis in Vase from Moving Focus, 1985
Lithograph in colors on TGL handmade paper
Sheet: 50 x 36 1/4 inches (127×92 cm)
Edition: 80 + 16 AP
Literature: Tyler (272), Museum of Contemporary Art Tokyo (266)

Red Celia, 1984-1985

Red Celia from Moving Focus, 1984-1985
Lithograph in colors on HMP handmade paper
Sheet: 30 x 12 1/2 inches (76×55 cm)
Edition: 82 + 18 AP
Literature: Tyler (273), Museum of Contemporary Art Tokyo (267)

Celia with Green Hat

Celia with Green Hat from Moving Focus, 1984
Lithograph on paper
Sheet: 30×22 inches (76.2 x 55.9 cm)
Edition: 98 + 18 AP
Literature: Museum of Contemporary Art Tokyo (268)

Hotel Acatlán: First Day, 1985

Hotel Acatlán: First Day from Moving Focus, 1985
Lithograph in colors on two sheets of TGL handmade paper
Sheet: 28 7/8 x 74 1/4 inches (73.3 x 188.6 cm)
Edition: 70 + 18 AP
Literature: Tyler Graphics (279), Museum of Contemporary Art Tokyo (269)

 

Hotel Acatlán: Second Day, 1985

Hotel Acatlán: Second Day, from Moving Focus, 1984-1985
Lithograph in colors, on two sheets of TGL handmade paper
Sheet: 29 x 75 5/8 inches (73.7 x 192.1 cm)
Edition: 98 + 34 AP
Literature: Tyler Graphics (283), Museum of Contemporary Art Tokyo (270)

 

Hotel Acatlán: Two Weeks Later, 1985

Hotel Acatlán: Two Weeks Later from Moving Focus, 1985
Lithograph in colors on two sheets of HMP handmade wove paper
Overall: 28 5/8 x 74 3/8 inches (72.7 x 188.9 cm)
Edition: 98 + 20 AP
Literature: Tyler Graphics (284), Museum of Contemporary Art Tokyo (271)

Views of Hotel Well I, 1985

Views of Hotel Well I from Moving Focus, 1985
Lithograph in colors, on TGL handmade paper, with full margins, contained in the original frame designed by the artist
Overall: 47 x 36 3/4 inches (119.4 x 93.3 cm)
Edition: 75 + 25 AP
Literature: Tyler Graphics (280), Museum of Contemporary Art Tokyo (272)

Views of Hotel Well II, 1985

Views of Hotel Well II from Moving Focus, 1985
Lithograph in colors on John Koller HMP handmade paper contained in the artist’s sculptural and stained wood frame
Framed: 29 1/2 x 36 1/2 inches (74.9 x 92.7 cm)
Edition: 75 + 14 AP
Literature: Tyler Graphics (281), Museum of Contemporary Art Tokyo (273)

Views of Hotel Well III, 1985

Views of Hotel Well III from Moving Focus, 1985
Lithograph in colors on TGL handmade paper contained in the original wooden frame specified by the artist
Framed: 55 3/8 x 44 5/8 inches (140.5 x 113.5 cm)
Edition: 80 + 18 AP
Literature: Tyler Graphics (282), Museum of Contemporary Art Tokyo (274)

Walking Past Two Chairs

Walking Past Two Chairs from Moving Focus, 1984-1986
Lithograph and screen-print in colors, on TGL handmade paper and Plexiglas respectively, contained in the original frame hand-painted by the artist.
Overall: 28 1/8 x 45 1/2 inches (71.4 x 115.6 cm)
Edition: 38 + 14 AP
Literature: Museum of Contemporary Art Tokyo (275)

Image of Gregory

Image of Gregory from Moving Focus, 1984-1985
Lithograph printed in colors in two parts, each with an artist’s frame finished in white and gray
First Part: Lithograph printed in colors with collage on five sheets of TGL handmade paper mounted on HMP handmade paper
Second Part: Lithograph printed in colors on TGL handmade paper
Overall: 87 1/2 x 41 inches (222.2 x 104.2 cm)
Edition: 75 + 18 AP
Literature: Museum of Contemporary Art Tokyo (276)

An Image of Celia

An Image of Celia from Moving Focus, 1984-1986
Lithograph and screen-print in colors with collage on TGL handmade paper and German etching paper, in the artist’s original sculptural frame finished in white, blue and red lacquer
Sheet: 152 x 104.5 cm
Edition: 40 + 18 AP
Literature: Museum of Contemporary Art Tokyo (277)

An Image of Celia, State I

An Image of Celia, State I from Moving Focus, 1984-1986
Lithograph in colors on TGL handmade paper
Sheet: 49 1/2 x 39 inches
Edition: 10
Literature: Museum of Contemporary Art Tokyo (278)

An Image of Celia, State II

An Image of Celia, State II from Moving Focus, 1984-1986
Lithograph in colors with collage on TGL handmade paper within hand-painted frame
Dimensions: 61 1/2 x 42 1/4 inches
Edition: 10
Literature: Museum of Contemporary Art Tokyo (279)

An Image of Celia (Study)

An Image of Celia (Study) from Moving Focus, 1986
Lithograph with etching and aquatint in colours, on HMP handmade paper
Sheet: 57.8 x 45.2 cm
Edition: 60 + 16 AP
Literature: Museum of Contemporary Art Tokyo (280)

Portrait of Mother I

Portrait of Mother I from Moving Focus, 1985
Lithograph in colors on TGL handmade paper
Sheet: 20 1/8 x 17 1/8 inches (51 x 43.4 cm)
Edition: 25 + 12 AP
Literature: Museum of Contemporary Art Tokyo (281)

Portrait of Mother II

Portrait of Mother II from Moving Focus, 1985
Lithograph in colors on TGL handmade paper
Sheet: 20 1/8 x 17 1/8 inches (51 x 43.4 cm)
Edition: 20 + 12 AP
Literature: Museum of Contemporary Art Tokyo (282)

Portrait of Mother III

Portrait of Mother III from Moving Focus, 1985
Lithograph in colors on wove paper
Sheet: 20 1/4 x 17 1/8 inches (51.4 x 43.5 cm)
Edition: 25 + 14 AP
Literature: Museum of Contemporary Art Tokyo (283)

White Porcelain

White Porcelain from Moving Focus, 1985-1986
Lithograph, etching and aquatint in colors on TGL handmade paper
Sheet: 18 3/4 x 22 inches (48 x 55.9 cm)
Edition: 80 + 16 AP
Literature: Museum of Contemporary Art Tokyo (285)

A Picture of Two Chairs

A Picture of Two Chairs from Moving Focus, 1985-1986
Lithograph and etching in colors on HMP hand-made paper
Sheet: 18 3/4 x 22 inches (48 x 55.9 cm)
Edition: 60 + 18 AP
Literature: Museum of Contemporary Art Tokyo (286)

Number One Chair

Number One Chair from Moving Focus, 1985-1986
Lithograph and etching in colors on HMP hand-made paper
Sheet: 22 1/4 x 18 7/8 inches (56.5 x 47.9 cm)
Edition: 60 + 16 AP
Literature: Museum of Contemporary Art Tokyo (287)

An Image of Ken

An Image of Ken from Moving Focus, 1985
Lithograph on HMP hand-made paper
Sheet: 30×22 inches (76.2 x 55.9 cm)
Edition: 20

 

---

Home Made Prints

---

It occurs to Hockney to take an unconventional printmaking machine in the context of art, the office photocopier, in order to produce layered images much like lithographs. With speed and efficiency, he can switch different colored ink cartridges, reduce or enlarge the scanned image, repeat parts, and “photograph” objects on the scanning bed, all without needing an assistant. From his “Home Made Prints” he designs and publishes a catalogue available for sale at his gallery exhibitions.

(Source: The Hockney Foundation)

Still Life with Curtains, March 1986

Still Life with Curtains, March 1986 from Homemade Prints, 1986
Homemade print executed on an office color copy machine on Arches Text paper
Sheet: 8 1/2 x 11 inches (21.5 x 27.9 cm)
Edition: 48
Literature: Museum of Contemporary Art Tokyo (289)

Black Plant on a Table

Black Plant on a Table from Homemade Prints, 1986
Homemade print executed on an office color copy machine on six sheets of wove paper
Overall: 29 1/4 x 32 1/2 inches (74.3 x 82.6 cm)
Edition: 30
Literature: Museum of Contemporary Art Tokyo (290)

Apples, Pears & Grapes, May 1986

Apples, Pears & Grapes, May 1986 from Homemade Prints, 1986
Homemade print executed on an office color copy machine on Arches Text paper
Sheet: 8 1/2 x 14 inches (21.6 x 35.6 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (291)

Ian & Heinz, July 1986

Ian & Heinz, July 1986 from Homemade Prints, 1986
Homemade print executed on an office color copy machine on Arches Text paper
Sheet: 8 1/2 x 10 7/8 inches (21.5 x 27.5 cm)
Edition: 34
Literature: Museum of Contemporary Art Tokyo (292)

Landscape with a Plant

Landscape with a Plant from Homemade Prints, 1986
Homemade print executed on an office color copy machine on Arches Text paper
Sheet: 11×17 inches (28 x 43.2 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (293)

Self-Portrait, July 1986

Self-Portrait, July 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on two sheets of Arches text paper
Overall: 22 x 8 1/2 inches (56 x 21.6 cm)
Edition: 60
Literature: Museum of Contemporary Art Tokyo 295

Flowers, Apple and Pear on a Table

Flowers, Apple and Pear on a Table from Home Made Prints, 1986
Home-made print executed on an office color copy machine on four sheets of laid Arches
Overall: 22×17 inches (55.8 x 43.2 cm)
Edition: 59
Literature: Museum of Contemporary Art Tokyo (296)

Man Looking for His Glasses, April 1986

Man Looking for His Glasses, April 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 8 1/2 x 11 inches (21.5 x 28 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (297)

Two Red Chairs, March 1986

Two Red Chairs, March 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches laid paper
Sheet: 8 3/8 x 10 7/8 inches (21.4 x 27.7 cm)
Edition: 44
Literature: Museum of Contemporary Art Tokyo (298)

Bowl of Fruits, April 1986

Bowl of Fruits, April 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 10 7/8 x 8 1/2 inches (27.7 x 21.6 cm)
Edition: 46
Literature: Museum of Contemporary Art Tokyo (299)

Red, Blue & Green Flowers, July 1986

Red, Blue & Green Flowers, July 1986 from Homemade Prints, 1986
Home-made print in colors executed on an office color copy machine on two sheets of Arches laid paper
Overall: 28 x 8 1/2 inches (71.1 x 21.6 cm)
Edition: 59
Literature: Museum of Contemporary Art Tokyo (300)

Waving, April 1986

Waving, April 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 11 x 8 3/8 inches (28 x 21.4 cm)
Edition: 45
Literature: Museum of Contemporary Art Tokyo (301)

Man Reading Stendhal July 1986

Man Reading Stendhal July 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 13 7/8 x 8 1/2 inches (35.5 x 21.6 cm)
Edition: 60
Literature: Museum of Contemporary Art Tokyo (302)

Livingroom & Terrace, July 1986

Livingroom & Terrace, July 1986 from Home Made Prints, 1986
Home-made print in colors executed on an office copy machine on two sheets of Arches Text wove paper
Overall: 17×22 inches (43.1 x 55.9 cm)
Edition: 60
Literature: Museum of Contemporary Art Tokyo (303)

Walking, June 1986

Walking, June 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 17×11 inches (43.1 x 28 cm)
Edition: 59
Literature: Museum of Contemporary Art Tokyo (304)

Grey Blooms, May 1986

Grey Blooms, May 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on two sheets of Arches Text paper
Sheet: 14×17 inches (35.6 x 43.2 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (305)

Celia with Chair

Celia with Chair from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 8 3/8 x 10 7/8 inches (21.4 x 27.8 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (306)

Dancing Flowers

Dancing Flowers from Home Made Prints, 1986
Home-made print in six parts created on an office color copy machine on acid-free Xerox office paper
Overall: 22 x 25 1/2 inches (55.5 x 64.5 cm)
Edition: 60
Literature: Museum of Contemporary Art Tokyo (307)

Mulholland Drive, June 1986

Mulholland Drive, June 1986 from Home Made Prints, 1986
Home-made print in black and red executed on an office copy machine on Arches Text wove paper
Sheet: 10 1/2 x 16 7/8 inches (26.8 x 43 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (308)

The Round Plate, April 1986

The Round Plate, April 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text wove paper
Sheet: 21.4 x 27.8 cm
Edition: 46
Literature: Museum of Contemporary Art Tokyo (309)

The Drooping Plant

The Drooping Plant from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches wove paper
Sheet: 11 x 8 1/2 inches (27.9 x 21.5 cm)
Edition: 46
Literature: Museum of Contemporary Art Tokyo (311)

Three Black Flowers, May 1986

Three Black Flowers, May 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text paper
Sheet: 11 x 8 1/2 inches (27.9 x 21.5 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (313)

The Tall Tree

The Tall Tree from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches paper
Sheet: 28 x 8 1/2 inches (71.1 x 21.6 cm)
Edition: 60
Literature: Museum of Contemporary Art Tokyo (314)

Growing, June 1986

Growing, June 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine on Arches Text laid paper
Sheet: 11 x 8 1/2 inches (27.9 x 21.7 cm)
Edition: 44
Literature: Museum of Contemporary Art Tokyo (315)

Two Red Chairs and Table, March 1986

Two Red Chairs and Table, March 1986 from Home Made Prints, 1986
Home-made print executed on an office color copy machine, on Arches Text paper
Sheet: 8 3/8 x 10 7/8 inches (21.4 x 27.8 cm)
Edition: 31
Literature: Museum of Contemporary Art Tokyo (316)

Green, Grey and Blue Plant July 1986

Green, Grey and Blue Plant July 1986 from Home Made Prints, 1986
Homemade print in colors executed on an office copier on two sheets of Arches Text paper
Sheet: 17×22 inches (43.2 x 55.9 cm)
Edition: 60
Literature: Museum of Contemporary Art Tokyo (317)

Stanley in a Basket, October 1986

Stanley in a Basket, October 1986 from Home Made Prints, 1986
Home-made print in colors executed on an office copy machine on Arches Text laid paper
Sheet: 8 1/2 x 14 inches (21.5 x 35.5 cm)
Edition: 50
Literature: Museum of Contemporary Art Tokyo (318)

Stanley at 8 Weeks, October 1986

Stanley at 8 Weeks, October 1986 from Home Made Prints, 1986
Home-made print in colors executed on an office copy machine on Arches Text laid paper
Sheet: 11 x 8 1/2 inches (27.9 x 21.5 cm)
Edition: 30
Literature: Museum of Contemporary Art Tokyo (319)

Lemons and Oranges

Lemons and Oranges from Homemade Prints, 1986
Homemade print executed on an office color copy machine on laid paper
Sheet: 8 1/2 x 13 7/8 inches (21.9 x 35.3 cm)
Edition: 150
Literature: Not in MCAT

The Juggler

The Juggler from Home Made Prints, 1986
Home-made print in colors executed on an office copy machine on wove paper
Sheet: 14 x 8 1/2 inches (35.6 x 21.6 cm)
Edition: 31
Literature: not in Museum of Contemporary Art Tokyo

 

 

---

Some (More) New Prints

---

Slow Forest

Slow Forest from Some New Prints, 1993
Lithograph and screen-print in colors on four sheets of Arches 88 paper
Sheet: 63.5 x 84 cm
Edition: 68 + 14 AP
Literature: Museum of Contemporary Art Tokyo (332)

Ink In The Room

Ink In The Room from Some New Prints, 1993
Lithograph in colors on Arches 88 paper
Sheet: 25 1/2 x 35 1/2 inches (64.8 x 90.2 cm)
Edition: 68 + 14 AP
Literature: Museum of Contemporary Art Tokyo (333); Gemini (1602)

Four Part Splinge

Four Part Splinge from Some New Prints, 1993
Lithograph and screen-print in colors on four sheets of Arches 88 paper
Overall: 49×66 inches (124.5 x 167.6 cm)
Edition: 48 + 14 AP
Literature: Gemini (1606), Museum of Contemporary Art Tokyo (334)

Blue Hang Cliff

Blue Hang Cliff from Some New Prints, 1993
Lithograph with screen-print in colors on Arches 88 paper
Sheet: 23×30 inches (58.4 x 76.2 cm)
Edition: 68 + 14 AP
Literature: Gemini 1604, Museum of Contemporary Art Tokyo (335)

Going Out

Going Out from Some New Prints, 1993
Lithograph and screen-print in colors on Arches 88 wove paper
Sheet: 24 1/4 x 27 inches (61.7 x 68.5 cm)
Edition: 68 + 14 AP
Literature: Gemini (1605), Museum of Contemporary Art Tokyo (336)

Warm Start

Warm Start from Some New Prints, 1993
Lithograph with screen-print in colors on Arches 88 paper
Sheet: 21 5/8 x 25 5/8 inches (54.8 x 65.1 cm)
Edition: 68 + 14 AP
Literature: Gemini (1601), Museum of Contemporary Art Tokyo (337)

Gorge d’Incre

Gorge d’Incre from Some New Prints, 1993
Lithograph with screen-print in colors on Arches 88 paper
Sheet: 21 1/2 x 27 inches (54.8 x 68.7 cm)
Edition: 68 + 14 AP
Literature: Gemini 1604, Museum of Contemporary Art Tokyo (338)

Above and Beyond

Above and Beyond from Some More New Prints, 1993
Screen-print in colors on Arches 88 paper
Sheet: 24 5/8 x 33 5/8 inches (62.4 x 85.3 cm)
Edition: 68 + 14 AP
Literature: Gemini (1625), Museum of Contemporary Art Tokyo (339)

Pushing Up

Pushing Up from Some More New Prints, 1993
Lithograph with screen-print in colors on Arches 88 paper
Sheet: 25 5/8 x 34 1/8 inches (65 x 86.6 cm)
Edition: 68 + 14 AP
Literature: Gemini (1622), Museum of Contemporary Art Tokyo (340)

Going Round

Going Round from Some More New Prints, 1993
Lithograph and screen-print in colors on four sheets of Arches 88 paper
Sheets overall: 48 1/2 x 65 1/2 inches (123.2 x 166.4 cm)
Edition: 48 + 31 AP
Literature: Gemini (1627), Museum of Contemporary Art Tokyo (341)

 

---

Dog Wall, 1998

---

Dog Wall, 1998
The complete set of 15 etchings on watermarked Somerset wove paper
Varying dimensions
Edition: 35 + 10 AP

Comprised of fifteen etchings, David Hockney’s Dog Wall is a large-scale homage to his two beloved dachshunds: Stanley and Little Boodgie. Depicted lounging in a variety of positions – sometimes together, sometimes individually – Dog Wall attests to the artist’s adoration of his pets while simultaneously exemplifying the brilliance of his draughtsmanship.

 

Dog Etching No. 1

Dog Etching No. 1
Dimensions: 12 5/8 x 14 1/4 inches

Dog Etching No. 2

Dog Etching No. 2
Dimensions: 16 5/8 x 18 3/8 inches

Dog Etching No. 3

Dog Etching No. 3
Dimensions: 16 5/8 x 18 3/8 inches

Dog Etching No. 4

Dog Etching No. 4
Dimensions: 22 1/4 x 29 3/4 inches

Dog Etching No. 5

Dog Etching No. 5
Dimensions: 16 5/8 x 18 3/8 inches

Dog Etching No. 6

Dog Etching No. 6
Dimensions: 12 5/8 x 14 1/4 inches

Dog Etching No. 7

Dog Etching No. 7
Dimensions: 18 5/8 x 16 3/8 inches

Dog Etching No. 8

Dog Etching No. 8
Dimensions: 16 5/8 x 18 3/8 inches

Dog Etching No. 9

Dog Etching No. 9
Dimensions: 16 5/8 x 18 3/8 inches

Dog Etching No. 10

Dog Etching No. 10
Dimensions: 22 1/4 x 29 3/4 inches

Dog Etching No. 11

Dog Etching No. 11
Dimensions: 12 5/8 x 14 1/4 inches

Dog Etching No. 12

Dog Etching No. 12
Dimensions: 16 5/8 x 22 3/8 inches

Dog Etching No. 13

Dog Etching No. 13
Dimensions: 15 5/8 x 22 3/8 inches

Dog Etching No. 14

Dog Etching No. 14
Dimensions: 25 3/4 x 22 1/4 inches

Dog Etching No. 15

Dog Etching No. 15
Dimensions: 12 5/8 x 14 1/4 inches

 

---

Digital Drawings, 2008-2012

---

A Bigger Green Valley, 2008

A Bigger Green Valley, 2008
Inkjet printed computer drawing in colors, on two sheets of wove paper, mounted onto two aluminum panels
Overall: 154 x 217 cm (60 5/8 x 85 3/8 inches)
Edition: 15

Summer Sky, 2008

Summer Sky, 2008
Inkjet printed computer drawing in colors on wove paper
Sheet: 34 1/4 x 45 3/8 inches (87 x 115.4 cm)
Edition: 25

Winter Road Near Kilham, 2008

Winter Road Near Kilham, 2008
Inkjet printed computer drawing in colors on wove paper
Sheet: 48 1/4 x 37 inches (122.4 x 94.1 cm)
Edition: 25

Cardigan Road, Brid., 2008

Cardigan Road, Brid., 2008
Inkjet printed computer drawing in colors on wove paper
Sheet: 44 3/4 x 32 1/8 inches (113.7 x 81.6 cm)
Edition: 25

Matelot Kevin Druez 2, 2009

Matelot Kevin Druez 2, 2009
Computer drawing in colors printed on wove paper
Sheet: 60×41 inches (152.4 x 104.1 cm)
Edition: 30

Rain on the Studio Window, 2009

Rain on the Studio Window, 2009
Inkjet printed computer drawing in colors on Epson Hot Press Natural wove paper
Sheet: 22×17 inches (55.9 x 43.2 cm)
Edition: 75

Less Trees Near Warter, 2009

 

Less Trees Near Warter, 2009
Inkjet printed computer drawing mounted on dibond
Sheet: 92 3/4 x 41 1/2 inches (235.5 x 105.5 cm)
Edition: 15

Untitled (224) (Striped Mug), 2010

Untitled (224) (Striped Mug), 2010
iPad drawing in colors on wove paper
Sheet: 37×28 inches (94 x 71.1 cm)
Edition: 25

Untitled (577) (Two Robes), 2010

Untitled (577) (Two Robes), 2010
iPad drawing printed in colors on wove paper
Sheet: 37×28 inches (94.2 x 71.2 cm)
Edition: 25

Untitled (180), 2010

Untitled (180), 2010
iPad drawing in colors printed on wove paper
Sheet: 37×28 inches (94 x 71.1 cm)
Edition: 25

My Shirt and Trousers, 2010

My Shirt and Trousers, 2010
iPad drawing printed in colors on wove paper
Sheet: 37×28 inches (94.2 x 71.2 cm)
Edition: 25

 

---

The Yosemite Suite, 2010

---

In 2010, David Hockney visited Yosemite National Park equipped with a brand-new invention: the iPad. Released by Apple earlier that year, the iPad was fast becoming a popular gadget, but Hockney was one of the first to realize its full potential as an artistic tool. Relishing the immediacy of working on the device, Hockney set about creating 24 iPad drawings en plein air which he titled The Yosemite Suite. In doing so, Hockney asserted himself as an artist for the technological age and brought a unique and pioneering aesthetic to the Yosemite Valley, California – a region which has long served as an arena for artists to showcase their skills.

 

The Yosemite Suite, 2010
iPad drawing in colors printed on wove paper
Sheet: 37×28 inches (94×71 cm)
Edition: 25

Untitled #1

Untitled #2

Untitled #3

Untitled #4

Untitled #5

Untitled #6

Untitled #7

Untitled #8

Untitled #9

Untitled #10

Untitled #11

Untitled #12

Untitled #13

Untitled #14

Untitled #15

Untitled #16

Untitled #17

Untitled #18

Untitled #19

Untitled #20

Untitled #21

Untitled #22

Untitled #23

Untitled #24

 

 

 

 

---

The Arrival of Spring in Woldgate

---

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.

“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 colour 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.

 

The Arrival of Spring in Woldgate, East Yorkshire in 2021 (twenty eleven)
iPad drawing in colors printed on wove paper
Sheet: 55×42 inches (139.7 x 106.7 cm)
Edition: 25

 

1. 1 January 2011

2. 2 January 2011

3. 3 January 2011

4. 4 January 2011

5. 8 January 2011

6. 13 January 2011

7. 18 January 2011

8. 29 January 2011

9. 19 February 2011

10. 23 February 2011

11. 25 February 2011

12. 5 March 2011

13. 14 March 2011

14. 15 March 2011

15. 16 March 2011

16. 18 March 2011

17. 19 March 2011

18. 21 March 2011

19. 22 March 2011

20. 25 March 2011

21. 30 March 2011

22. 1 April 2011

23. 12 April No. 1 2011

24. 12 April No. 2 2011

25. 14 April 2011

26. 17 April 2011

27. 19 April 2011

28. 23 April 2011

29. 24 April 2011

30. 25 April 2011

 31. 26 April 2011

32. 27 April 2011

33. 28 April 2011

34. 30 April 2011

35. 4 May 2011

36. 5 May 2011

37. 6 May 2011

38. 11 May 2011

39. 12 May 2011

40. 14 May 2011

41. 16 May 2011

42. 17 May 2011

43. 18 May 2011

44. 19 May 2011

45. 22 May 2011

46. 30 May 2011

47. 31 May no. 1 2011

48. 31 May No. 2 2011

49. 2 June 2011

 

---

My Window

---

My Window: No. 535 28th June 2009; No. 281 23rd July 2010; No. 610, 23rd December 2010; and No. 778, 17th April 2011
The complete series including one iPhone and three iPad drawings in colors, 2009-2011
one iPhone and three iPad drawings in colors printed on archival paper
Image: 17 3/8 x 12 7/8 inches (44×33 cm)
Sheet: 22×17 inches (56 x 43.2 cm)
Edition: 250 + 80 AP

Each with the illustrated 248-page chronology book numbered and original print portfolios
(there was also an edition of 1,000 without the iPad/iPhone drawings)

 

 

 

No. 535 28th June 2009

No. 281 23rd July 2010

No. 610, 23rd December 2010

No. 778, 17th April 2011

 

 

---

A Bigger Book Art Editions A-D

---

 

A Bigger Book, Art Edition A-D

The complete series of four iPad drawings in colors
Medium: iPad drawings in colors printed on archival paper
Year: 2010/2016
Image: 43.8 x 33 cm (17 1/4 x 13 inches)
Sheet: 55.9 x 43.2 cm (22×17 inches)
Edition: 250
Each prints is signed, dated and numbered in pencil

Each print is accompanied with the illustrated 680-page chronology book, an original print portfolio and an adjustable book stand designed by Marc Newson, contained in original cardboard boxe with stamp-numbered label
Book: 71.1 x 51.4 x 8.9 cm (28 x 20 1/4 x 3 1/2 inches)
Each book is signed in black ink on the title page
(all from the editions of 250 lettered A-D)
There was also an edition of 10,000 without the iPad drawings

Publishers: The Artist and Taschen, Berlin

 

 

 

 

A Bigger Book, Art Edition A

A Bigger Book, Art Edition B

A Bigger Book, Art Edition C

A Bigger Book, Art Edition D

 

 

 

---

Photographic Drawings, 2014-2018

---

Employing innovative methods of digital production, David Hockney’s multidisciplinary practice and his extended exploration into the medium of photography are perfectly represented within the artist’s recent body of work known as “photographic drawing”. By utilizing a photogrammetric software to combine hundreds of single snapshots from various viewpoints, the artist creates three-dimensional approximations for individual objects, which he then group to create a digital artwork. By digitally altering the object’s colors, and manually adding highlights and shadows that contradict the principles of traditional lighting, Hockney combined his drawing and painting practices with photography, creating a photographic drawing which appears at once awkwardly hyper-realistic and subtly wrong.

Perspective Should be Reversed, 2014

Perspective Should be Reversed, 2014
Photographic drawing printed on paper mounted on Dibond
Sheet: 41 3/4 x 68 7/8 inches (106×175 cm)
Edition: 25

Sparer Chairs, 2014

Sparer Chairs, 2014
Photographic drawing in colors printed on wove paper mounted to Dibond
Sheet: 42 1/4 x 69 1/4 inches (107.3 x 175.9 cm)
Edition: 25

The Chairs, 2014

The Chairs, 2014
Photographic drawing on paper mounted to Dibond
Size: 42 1/2 x 69 1/2 inches (108 x 176.5 cm)
Edition: 25

The Potted Palm, 2014

The Potted Palm, 2014
Photographic drawing print
Sheet: 42 1/2 x 69 1/2 inches (108 x 176.5 cm)
Edition: 25

The Red Table, 2014

The Red Table, 2014
Photographic drawing on paper mounted to Dibond
Size: 42 1/2 x 69 1/2 inches (108 x 176.5 cm)
Edition: 25

Two Chairs with People, 2014

Two Chairs with People, 2014
Photographic drawing print
Sheet: 42 1/8 x 69 3/8 inches (107×176 cm)
Edition: 25

Four Blue Stools, 2014

Four Blue Stools, 2014
Photographic drawing print
Sheet: 42 1/8 x 69 3/8 inches (107×176 cm)
Edition: 25

The Scrabble Players, 2015

The Scrabble Players, 2015
Photographic drawing printed on paper and mounted on Dibond
Sheet: 42 1/4 x 42 1/4 inches (107×107 cm)
Edition: 25

Focus Moving, 2018

Focus Moving, 2018
Photographic drawing printed on paper mounted on Dibond
Size: 35 1/8 x 45 1/2 inches (89.5 x 115.5 cm)
Edition: 25

Seven Trollies, Six and a Half Stools, Six Portraits, Eleven Paintings, and Two Curtains, 2018

Seven Trollies, Six and a Half Stools, Six Portraits, Eleven Paintings, and Two Curtains, 2018
Photographic drawing in colors printed on seven sheets of wove paper mounted to Dibond
Overall: 32 3/4 x 89 3/4 inches (83.2 x 228 cm)
Edition: 25

Pictured Gathering with Mirror, 2018

Pictured Gathering with Mirror, 2018
Photographic drawing in colors printed on paper mounted on Dibond
Sheet: 23 1/4 x 63 3/8 inches (59×161 cm)
Edition: 25

Viewers Looking at a Ready-made with Skull and Mirrors, 2018

Viewers Looking at a Ready-made with Skull and Mirrors, 2018
Monumental photographic drawing in colors, on four sheets of wove paper, mounted on Dibond
Sheet: 71 1/2 x 42 1/2 inches (181.6 x 108 cm)
Edition: 25

Inside it Opens Up as Well, 2018

Inside it Opens Up as Well, 2018
Photographic drawing printed on paper mounted on Dibond
Sheet: 23 x 65 3/4 inches (58.4 x 165.1 cm)
Edition: 25

Picture at an Exhibition, 2018

Picture at an Exhibition, 2018
Photographic drawing print
Sheet: 23 5/8 x 76 3/8 inches (60×194 cm)
Edition: 25

 

---

Flowers, 1969-2021

---

Since the 1960s, flowers have been a central theme of David Hockney’s work. From etchings to lithographs to iPad drawings, the humble vase of flowers has been under constant review by the British artist. A keen student of this art historical tradition, Hockney was initially drawn to Vincent Van Gogh’s sunflower painting’s from the late 1880s. Hockney’s exploration of the floral still life as a formal composition further provided him a means of exploring medium, specifically diverse printmaking techniques. Showcasing his mastery of the various printing methods, Hockney’s depictions of flowers are delicate and moving works exemplar of the development of his unique style, excitement regarding new printing techniques, and his endless experimentations with color, form, and line.

Pretty Tulips, 1969

Pretty Tulips, 1969
Lithograph in colors on Crisbrook handmade paper
Sheet: 28 3/8 x 19 7/8 inches (72.1 x 50.5 cm)
Edition: 200 + 30 AP
Literature: Scottish Arts Council (115)

Vase and Flowers, 1969

Vase and Flowers, 1969
Etching and aquatint on Crisbrook handmade paper
Sheet: 36×28 inches (91.5 x 71 cm)
Edition: 75 + 16 AP

Colored Flowers Made of Paper and Ink, 1971

Colored Flowers Made of Paper and Ink, 1971
Lithograph printed in colors on Hodgkinson mould-made paper
Sheet: 39 x 37 1/4 inches (99 x 94.8 cm)
Edition: 50 + 11 AP
Literature: Scottish Arts Council (119), Museum of Contemporary Art Tokyo (113)

Flowers Made of Paper and Black Ink, 1971

Flowers Made of Paper and Black Ink, 1971
Lithograph on Hodgkinson mould-made paper
Sheet: 39 x 37 1/4 inches (99 x 94.8 cm)
Edition: 50 + 11 AP
Literature: Scottish Arts Council (120), Museum of Contemporary Art Tokyo (114)

Lilies, 1971

Lilies, 1971
Lithograph in colors on Arches wove paper
Sheet: 65.7 x 50.2 cm
Edition: 65 + 18 AP (on Japan paper)
Literature: Scottish Arts Council (118), not in Museum of Contemporary Art Tokyo

Marguerites, 1973

Marguerites, 1973
Etching with aquatint printed in colors on Arches mould made paper
Sheet: 16 1/4 x 12 1/2 inches (41.4 x 31.8 cm)
Edition: 100 + 23 AP
Literature: Scottish Arts Council (157), Museum of Contemporary Art Tokyo (141)

Tulips, 1973

Tulips, 1973
Etching and aquatint on German mould-made Museum Board
Sheet: 36 x 28 1/8 inches (91.5 x 71.3 cm)
Edition: 75 + 16 AP
Literature: Scottish Arts Council (158), Museum of Contemporary Art Tokyo (142)

Godetias

Godetias, 1973
Etching in colors on Arches mould-made paper
Sheet: 23 x 16 1/2 inches (58.4 x 41.9 cm)
Edition: 100 + 23 AP
Literature: Scottish Arts Council (155), not in Museum of Contemporary Art Tokyo

Four Flowers in Still Life, 1990

Four Flowers in Still Life, 1990
Lithograph in colors on Arches 88 paper
Sheet: 27×38 inches (68.6 x 96.5 cm)
Edition: 50 + 12 AP
Literature: Museum of Contemporary Art Tokyo (322)

Sunflower I, 1995

Sunflower I, 1995
Etching and aquatint on Arches watercolor paper
Sheet: 27 1/4 x 22 5/8 inches (69.2 x 57.5 cm)
Edition: 80 + 15 AP
Literature: Museum of Contemporary Art Tokyo (347)

Sunflower II, 1995

Sunflower II, 1985
Etching and aquatint on Arches watercolor paper
Sheet: 27 x 22 3/8 inches (68.6 x 56.8 cm)
Edition: 80 + 15 AP
Literature: Museum of Contemporary Art Tokyo (348)

Lilies, 2009

Sunflowers, 2010

Sunflowers, 2010
iPad drawing in colors printed on wove paper
Sheet: 94×71 cm
Edition: 25

Dandelions, 2011

Dandelions, 2011
iPad drawing printed on paper
Sheet: 37 x 27 7/8 inches (94×71 cm)
Edition: 25

7th March 2021, More Flowers on a Table, 2021

7th March 2021, More Flowers on a Table, 2021
iPad painting printed on wove paper
Sheet: 35×25 inches (88.8 x 63.3 cm)
Edition: 50