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David Hockney R.A. (British, born 1937) Lithograph of Water Made of Lines and a Green Wash Lithograph in colours, 1978-80, on TGL handmade wove paper, signed, dated and numbered 15/36 in pencil (there were also 14 artist's proofs), printed and published by Tyler Graphics Ltd., Bedford, New York, with their blindstamp, the full sheet, framedImage 505 x 700mm (19 7/8 x 27 5/8in)Sheet 655 x 868mm (25 3/4 x 34 1/4in) image 1
David Hockney R.A. (British, born 1937) Lithograph of Water Made of Lines and a Green Wash Lithograph in colours, 1978-80, on TGL handmade wove paper, signed, dated and numbered 15/36 in pencil (there were also 14 artist's proofs), printed and published by Tyler Graphics Ltd., Bedford, New York, with their blindstamp, the full sheet, framedImage 505 x 700mm (19 7/8 x 27 5/8in)Sheet 655 x 868mm (25 3/4 x 34 1/4in) image 2
Lot 24*,AR

David Hockney R.A.
(British, born 1937)
Lithograph of Water Made of Lines and a Green Wash

25 June 2025, 13:30 BST
London, New Bond Street

Sold for £108,350 inc. premium

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David Hockney R.A. (British, born 1937)

Lithograph of Water Made of Lines and a Green Wash (M.C.A. Tokyo 204)
Lithograph in colours, 1978-80, on TGL handmade wove paper, signed, dated and numbered 15/36 in pencil (there were also 14 artist's proofs), printed and published by Tyler Graphics Ltd., Bedford, New York, with their blindstamp, the full sheet, framed

Image 505 x 700mm (19 7/8 x 27 5/8in)
Sheet 655 x 868mm (25 3/4 x 34 1/4in)

Footnotes

Swimming pools became a staple of Hockney's oeuvre early on in his career. Flying into Los Angeles for the first time in 1963, Hockney looked out of the airplane window and was immediately captivated by the striking blues of the countless swimming pools below. In California he found inspiration and a place that allow him the freedom to be exactly who he was.

Hockney's Lithograph of Water Made of Lines and a Green Wash exemplifies this approach to depicting water. Using delicate washes and strong lines in blue and green, the print captures shifting reflections and shadows in the pool's depths. Part of his Paper Pools series, this work reflects a pivotal moment in his career, where he expanded his printmaking practice to examine the challenge of portraying water's ever-changing surface. Through these works, Hockney transformed a familiar subject into a rich exploration of light, space, and identity.

"It is an interesting formal problem; it is a formal problem to represent water, to describe water, because it can be anything. It can be any colour, and it has no set visual description" —David Hockney

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