Godetia
Godetia
Signed Print
David Hockney
£11,500-£17,000
$23,000-$35,000 Value Indicator
$21,000-$30,000 Value Indicator
¥110,000-¥160,000 Value Indicator
€14,000-€21,000 Value Indicator
$110,000-$170,000 Value Indicator
¥2,240,000-¥3,300,000 Value Indicator
$14,500-$22,000 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: Intaglio
Edition size: 100
Year: 1973
Size: H 58cm x W 41cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Sotheby's Online | United Kingdom | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| May 2020 | Christie's New York | United States | |||
| September 2019 | Sotheby's Online | United Kingdom | |||
| May 2012 | Bonhams San Francisco | United States | |||
| February 2012 | Christie's London | United Kingdom | |||
| November 2011 | Bonhams New Bond Street | United Kingdom |
Meaning & Analysis
This elegant intaglio by David Hockney is notable for its almost watercolour like properties. Here he takes godetia flowers as his subject, showing them stuffed as a full bouquet into an elegant white vase. The flowers spill out over the top competing for attention, their dark green foliage complementing the reds, pinks and purples of their blooms.
The background is plain, as is usual in many of Hockney's still lifes, and the vessel that holds the flowers does little to draw attention away from them. A shadow on the left tells us that the light source is coming from the right but there are no other clues to the room in which the flowers sit. Flowers have always been an important part of the still life genre, featuring in grandiose 17th century paintings or in looser configurations for the subject by modernists such as Matisse, and Hockney’s interest in them sometimes appears to be academic as well as aesthetic. Taking tulips, lilies, godetia or daisies as his subject he produces careful studies of each flower, that, appearing as spontaneous and vivid as his sketches, belie the many hours of observation that have made him the master of perspective and representation he is today.
