Vase And Flowers
Vase And Flowers
Signed Print
David Hockney
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AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Intaglio
Edition size: 75
Year: 1969
Size: H 90cm x W 71cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2020 | Sotheby's Online - United Kingdom | Vase And Flowers - Signed Print | |||
| July 2017 | Christie's New York - United States | Vase And Flowers - Signed Print | |||
| September 2015 | Christie's London - United Kingdom | Vase And Flowers - Signed Print | |||
| December 2012 | Christie's London - United Kingdom | Vase And Flowers - Signed Print | |||
| April 2012 | Sotheby's New York - United States | Vase And Flowers - Signed Print | |||
| February 2012 | Christie's London - United Kingdom | Vase And Flowers - Signed Print | |||
| November 2007 | Bonhams New Bond Street - United Kingdom | Vase And Flowers - Signed Print |
Meaning & Analysis
Vase And Flowers is a haunting intaglio and one of many depictions of flowers by David Hockney over the course of his long career. Vase And Flowers was published as a signed edition of 75 in 1969.
Featuring a vase of flowers that appears to be haunted by its own shadow, this is one of Hockney’s more unsettling still lifes. The vase itself is tall and features small handles on either side of its neck, recalling an ancient Greek style of amphora. It appears to contain a bunch of daffodils or perhaps irises, pushed into close proximity by the narrow opening. Light bounces off the vessel suggesting it is glazed and the shadow suggests the light comes from an unseen source on the left.
Dating to 1969 the work is in keeping with the etchings found in Illustrations For Six Fairy Tales From The Brothers Grimm as well as works such as Tulips from 1973 where the flowers are kept in monochrome, their delicate stems and blooms depicted with fine lines. The background is bare and the flowers appear to be resting against a wall on the floor. There is no discernible table top or cloth, as in other still lifes with flowers, and the work would seem a little unmoored were it not for the careful attention paid to the petals and the surface of the vase. The shadow itself is expertly rendered as a haze of grey which appears to take the form of a figure in its abstraction. It also serves to evoke the sharp white light of California that Hockney sought out in the mid 60s after having seen it in Hollywood movies.
