David Hockney’s Arrival of Spring: From Release to the Market in 2025: The Market Journey of Hockney's Most Sought After iPad drawings series

  • allery assistants carry David Hockney’s The Arrival of Spring in Woldgate, East Yorkshire, 2nd January 2011, during the unveiling of auction highlights at Phillips, London.

    Gallery assistants carry David Hockney’s The Arrival of Spring in Woldgate, East Yorkshire, 2nd January 2011, during the unveiling of auction highlights at Phillips, London.
    Artwork © David Hockney, Photo © Alamy Stock Photo.

    From the early experiments of digital drawing to the landmark release of The Arrival of Spring in Woldgate, David Hockney has redefined what fine art can be in the 21st century. In this report, we trace the journey of the series from its debut at the Royal Academy to its record-breaking performance on the secondary market, exploring why it has become one of the most successful print releases in recent decades.
     
    Balancing artistic innovation with market accessibility, The Arrival of Spring united Hockney’s instantly recognisable style with the new possibilities of digital technology. Today, the series holds a rare position, appealing to both long-standing collectors and new art investors while continuing to perform strongly at auction and in the gallery network worldwide.
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  • David Hockney’s Artistic Approach - From art history to digital innovation in The Arrival of Spring

    David Hockney approaches painting as both artist and historian, drawing on centuries of art theory to explore how we see and represent the world. In 1999, while studying a portrait by Jean-Auguste-Dominique Ingres, he noticed a resemblance to the linework in Andy Warhol’s drawings. Although separated by 148 years, both artists used a tracing technique derived from photographic images. Hockney enlarged the Ingres portrait, observing that “the lines reminded me of Andy Warhol… he would project a photograph and trace the lines… and to my surprise some of these had lines similar” (Secret Knowledge, 6:15). This insight led Hockney to create his “Great Wall” in the early 2000s, a vast visual timeline of portraits. Through research and experimentation, he concluded that Old Masters likely used optical aids such as the camera obscura, camera lucida, and curved mirrors, challenging the belief that naturalistic accuracy was achieved by skill alone.
  • "Optical devices are just tools. They don’t make marks, they don’t make the painting."
     
    - David Hockney
    Hockney’s willingness to challenge art-historical orthodoxy has cemented his reputation as one of the most important living artists, bridging the traditions of the past with the possibilities of the future. His fascination with historical techniques is matched by a lifelong commitment to technological innovation. From his Fax Art Revival in 1988 to photomontages and stage designs at the turn of the century, Hockney consistently embraced new tools. In 2008, he began producing computer drawings in Photoshop, creating early digital works that paved the way for his later iPhone and iPad experiments. By the late 2000s, he was creating artworks directly on these devices, merging digital technology with the trained eye of a master painter. These works quickly gained traction on the art market, establishing their cultural and commercial potential.
  • Illustration of a portable camera obscura studio, from Athanasius Kircher’s Ars Magna Lucis et Umbrae (1645). Public domain.
    Illustration of a portable camera obscura studio, from Athanasius Kircher’s Ars Magna Lucis et Umbrae (1645).
    Public domain.
    While David Hockney had created individual iPad drawings prior to 2011, including works from the Yosemite Suite and other smaller projects, these were released sporadically and without forming a cohesive body of work. The Arrival of Spring in Woldgate became the first fully unified iPad series to be commercially released in 2014, a landmark moment in digital fine art printmaking. By committing to this medium, Hockney legitimised the iPad as a serious tool for fine art. Returning to the same Yorkshire landscape across the changing seasons, he echoed traditions established by Monet’s haystacks and Cézanne’s Mont Sainte-Victoire, proving that digital works could achieve the same depth, nuance, and painterly sophistication as oil on canvas. Much like his research in Secret Knowledge, the series offers an intimate window into Hockney’s life, capturing subtle shifts in light, colour, and mood. For viewers, it is an invitation to experience time unfolding; for collectors, it is the chance to own a defining work of 21st-century art and one of the most successful fine art print releases in recent decades.

  • Unmistakably Hockney – Why The Arrival of Spring is recognisable and collectable:

    When The Arrival of Spring debuted at the Royal Academy of Arts in January 2012 as part of the blockbuster exhibition David Hockney: A Bigger Picture, it marked a turning point in public awareness of Hockney’s iPad art. Shown within one of Britain’s most respected public art institutions, the series placed 51 of the 116 digitally created drawings into a major institutional setting. Each work was printed at a scale that revealed the texture, precision, and painterly intent of Hockney’s hand, reinforcing the legitimacy of digital art within the highest tiers of the fine art world. For many visitors, it was their first encounter with iPad art elevated to the stature of grand, museum-quality paintings presented on an immersive scale and curated with precision. The presentation made clear that these were not experiments or novelties, but fully resolved works of art that could stand alongside Hockney’s most celebrated works, redefining what digital art could mean in a fine art setting. The exhibition’s visibility and critical acclaim established the series in the public sphere, proving that tablet-based art could command institutional respect and serious market attention.

  • A couple viewing David Hockney’s The Arrival of Spring exhibition at Salts Mill, Saltaire, Bradford.
    A couple viewing David Hockney’s The Arrival of Spring exhibition at Salts Mill, Saltaire, Bradford.
    Artwork © David Hockney. Photo © Alamy Stock Photo.
    This reception confirmed that while the medium was new, the art was rooted in the same principles and vision that have defined Hockney’s career. He emerged as both a pioneer of contemporary digital art and a key figure linking traditional painting with new technology.
     
    The Arrival of Spring distils David Hockney’s signature style into a series that feels both instantly recognisable and newly revitalised. Bold greens, reds, pinks, and blues unmistakably mark his hand, yet here they replace the sunlit leisure of California pools with the layered stillness of the Yorkshire countryside. Although created entirely on an iPad, the works reveal the trained eye of a painter. Across 116 drawings, colour and gesture form a visual diary, recording not only the shifting landscape but also Hockney’s own changing state of mind. Together, they stand as a vivid record of place, season, and mood.
     
    The combination of Hockney’s high-contrast palette and his position as the first major artist to stage a large-scale institutional exhibition of iPad art makes The Arrival of Spring instantly identifiable as his work. For collectors, that familiarity and recognition are powerful, aligning with the visual language he has refined over decades and making the series both a landmark artistic achievement and a secure investment in the contemporary print market.

  • Scale, Formats, and Exclusivity - Edition sizes of the Arrival of Spring prints

    Beyond its artistic significance, The Arrival of Spring series combines qualities that appear to have maximised both visual impact and market appeal. Of the 116 works in the series, 51 were exhibited at the Royal Academy in the landmark 2012 exhibition David Hockney: A Bigger Picture. These exhibited pieces were later released as editioned prints in two formats: a regular size of 55 × 41.4 inches and, for 12 selected works, a large format of 93 × 70 inches.
     
    For collectors, these dimensions strike the perfect balance. The regular prints are substantial enough to showcase Hockney’s vibrant colours, Yorkshire landscapes, and detailed brushwork, yet remain practical for display in homes, apartments, and offices. This scale makes them accessible beyond institutional or ultra-high-net-worth buyers, offering more collectors the opportunity to acquire works with strong provenance and market credibility. For those seeking greater visual presence, the large format delivers a true statement piece. At 93 × 70 inches, these works command a room and provide an anchor for a collection.
     
    The edition structure reinforces the balance between accessibility and exclusivity. Of the 51 works in the series, 48 are available in a regular format of 25 prints each, creating just 1,200 prints worldwide. The large format is even more limited, with only 12 works produced at 10 prints each, resulting in just 120 large-scale pieces in existence. This scarcity, particularly in the large format, offers collectors exceptional rarity and prestige. The tiered model has proved highly effective in the market, providing clear entry points for a diverse collector base while protecting long-term desirability and value for David Hockney prints.

  • Strategic Pricing - How The Arrival of Spring was positioned in the Art Market

    The initial price of around £19,000 in 2014 made The Arrival of Spring in Woldgate accessible to both mid-level and established collectors. This price point ensured that few were excluded, generating strong early interest and creating a broad yet discerning collector base. It balanced attainability with prestige, placing works in the hands of serious buyers while also welcoming those new to the David Hockney market.
     
    This strategic pricing, combined with the limited edition structure and a visual style instantly identifiable as David Hockney’s, positioned the series for sustained demand from the start. The works offered both visual appeal and market credibility, giving collectors confidence in their long-term value. As interest has grown, The Arrival of Spring has become one of the most sought-after and consistently high-performing David Hockney print series in the contemporary art market.
  • Collector Motivation - Why collectors purchased The Arrival of Spring prints
    Installation view of David Hockney’s The Arrival of Spring at Salts Mill, Saltaire, Bradford.
    Artwork © David Hockney. Photo © Alamy Stock Photo.

    Collector Motivation - Why collectors purchased The Arrival of Spring prints

    For many early buyers, acquiring a work from The Arrival of Spring was an instinctive, heartfelt decision. This was not about investment strategies; it was about falling in love with Hockney’s vision. The series radiated joy, its Yorkshire landscapes bursting with colour and vitality, each image a snapshot of nature’s renewal. Collectors spoke of the works bringing light into their homes, becoming daily companions that lifted the mood and transformed the space.
     
    When The Arrival of Spring emerged, the notion of editioned prints created entirely on an iPad was a jolt to the art world’s system. For Hockney, a painter whose career had long been anchored in critical acclaim, to embrace a digital medium with such conviction was nothing short of audacious. It defied expectation, challenged tradition, and carried the thrill of risk. Those who bought in were not just purchasing an artwork they loved, they were staking a place in a groundbreaking moment in contemporary art, joining Hockney as he redefined what fine art could be in the 21st century.

  • Exhibition History – Major shows featuring The Arrival of Spring series

    Since debuting at the Royal Academy’s blockbuster David Hockney: A Bigger Picture exhibition in 2012, works from The Arrival of Spring in Woldgate have been exhibited in leading art institutions and galleries worldwide. This landmark Royal Academy show was pivotal in introducing Hockney’s iPad art to an international audience, firmly establishing the series within the contemporary art market.
     
    The primary galleries handling The Arrival of Spring, along with worldwide exhibitions, have helped place the works across multiple international markets, including London, Paris, New York, Los Angeles, and Seoul, building a diverse global collector base from the outset. Several prints have also entered notable family collections, further embedding the series within the pinnacle of the art world. High-profile exhibitions, such as the Fondation Louis Vuitton’s celebrated David Hockney retrospective in Paris, have reinforced the series’ cultural and institutional prestige. Within this show, The Arrival of Spring held a commanding presence, drawing attention and acting as one of the highlights of the exhibition. This continued visibility across renowned venues has expanded its appeal among collectors and strengthened its position as one of the most significant print series of the 21st century
  • Record-breaking auction results - The secondary market for The Arrival of Spring
    David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), 6 May.
    Artwork © David Hockney. Photo © Alamy Stock Photo

    Record-breaking auction results - The secondary market for The Arrival of Spring

    The secondary market for David Hockney’s The Arrival of Spring in Woldgate has consistently delivered strong auction results, reflecting the series’ artistic importance and enduring global collector demand.
     
    Since its secondary market debut in 2017, the series has shown steady growth in both price and interest. The first work to appear at auction, The Arrival of Spring, 19 May 2011, achieved £31,250 at Phillips’ Evening & Day Editions sale in January 2017. Momentum increased over the following years, with notable results across major auction houses, including The Arrival of Spring, 24 April 2011, which sold for $119,700 USD at Christie’s in 2022. The upward trend continued until March 2022 when Phillips sold The Arrival of Spring, 4 May 2011 for £504,000 including fees, setting a new auction record for the series.
     
    These headline sales sent a clear signal to the art market. Even collectors holding other dates from the series, rather than the exact record-setting works, experienced increased demand and higher valuations. Public results at leading auction houses reinforced the perception of The Arrival of Spring as both a secure blue-chip asset and a desirable acquisition for seasoned collectors and new entrants alike. The ripple effect from standout sales has lifted the entire series, sustaining demand and underpinning long-term confidence in its position as one of David Hockney’s most successful and sought-after print releases.

  • Limited Availability – Why The Arrival of Spring prints rarely appear on the market

    The motivations that drove early acquisitions also explain why so few owners have been willing to sell. Many first buyers developed a strong personal connection to the imagery or valued the prestige of owning a David Hockney, making them reluctant to part with their works.
     
    As a result, pieces surface only occasionally on the secondary market and draw significant attention when they do. Demand for The Arrival of Spring in Woldgate has remained high while availability stays limited, creating a bottleneck that helps sustain both value and desirability. The restricted edition sizes have further reinforced this scarcity, keeping the series competitive and among the most sought-after Hockney print releases in the contemporary art market.
  • David Hockney The Arrival of Spring 2nd January 2011 iPad drawing on paper
    David Hockney, The Arrival of Spring, 2nd January 2011.
    iPad drawing printed on paper, 55 × 41.5 in. Edition of 25.
    © David Hockney.

    Market depth – How global participation supports The Arrival of Spring’s value

    The market for The Arrival of Spring in Woldgate attracts a diverse range of buyers, from long-standing David Hockney collectors to first-time art investors drawn by the series’ accessibility, instantly recognisable Hockney style, and strong international profile. While early acquisitions were often driven by personal connection and a passion for Hockney’s vision, the motivations of today’s buyers increasingly include financial considerations. For many, the series is now seen as a secure, blue-chip investment with proven long-term growth potential.
     
    Hockney’s global market is underpinned by a network of hundreds of active art dealers and galleries, supported by a collector base that likely numbers in the tens of thousands worldwide. This breadth of participation creates a stable and liquid market, with works trading frequently enough to sustain momentum while avoiding over-supply.
     
    Alongside formal sales channels, the series benefits from powerful organic promotion through word-of-mouth marketing by engaged owners and art dealers. This grassroots advocacy has expanded international awareness, reinforced collector confidence, and driven continued demand. The combination of deep market participation, active engagement, and sustained visibility has firmly positioned The Arrival of Spring in Woldgate as one of the most dynamic and resilient segments of Hockney’s contemporary print market.

  • Why The Arrival of Spring is one of the most successful print releases in recent decades

    David Hockney’s The Arrival of Spring in Woldgate stands as one of the most successful fine art print releases in recent decades, combining artistic innovation with market accessibility and lasting value. As Hockney’s first fully realised iPad art series, it bridged traditional printmaking and digital creation while retaining the bold colour palette, compositional approach, and instantly recognisable style that define David Hockney prints.
     
    The series’s landmark debut at the Royal Academy, its precisely structured edition sizes, and strategic international gallery placement ensured global reach from the outset. Sustained exposure through major institutional exhibitions, coupled with consistently strong results on the secondary art market, has reinforced both cultural significance and commercial strength.
     
    Few contemporary print series have attracted such a broad and diverse collector base while preserving scarcity and achieving steady value growth. The Arrival of Spring in Woldgate is not only a pivotal chapter in Hockney’s career but also a benchmark for success in the contemporary print market. For more insights into his broader market performance, see our David Hockney Market Report.
     
    By Erin Carrington 
    Date: 20th August 2025

  • David Hockney’s Arrival of Spring Series: Auction Results and Private Sale Prices

    The Most Comprehensive Public Record of Arrival of Spring Auction and Private Prices

    Arrival of Spring Auction Results

    2025

    • 5 Mar 2025 — Sotheby’s London, Contemporary Day — 30 March 2011 — £152,400

    • 25 Jun 2025 — Sotheby’s London — 31 May 2011, No. 1 (large format, ed. 10) — £406,400

    • 28 Jun 2025 — Holly's International Auctions Co. — 19 March 2011, 16/25 — $112,240

    • 26 Jun 2025 — Christie’s London — 4 May 2011, 6/10 (large format, ed. 10) — £504,000

    • 27 May 2025 — Phillips Hong Kong — 14 May 2011, 8/25 — $226,829 USD

    • 15 Apr 2025 — Sotheby’s New York — 25 March 2011 (large format, ed. 10) — $254,000 USD

    • 5 Mar 2025 — Sotheby’s London — 30 March 2011 — $195,962 USD

    • 12 Feb 2025 — Rago Auctions — 17 May 2011, 19/25 — $215,900 USD

    • 23 Jan 2025 — Phillips London — 17 May 2011, 13/25 — £53,340 (incl. premium)

    • 22 Jan 2025 — K Auction — 14 May 2011, 24/25 — ₩260,000,000 ($181,030 USD)

    2024

    • 25 Oct 2024 — Christie’s New York, Prints & Multiples — 30 March 2011, 3/25 — $327,600

    • 1 Oct 2024 — Christie’s Online, Contemporary Edition — 17 May 2011, 9/25 — £88,200 ($117,147)

    • 19 Sep 2024 — Phillips London, David Hockney — 16 May 2011, 5/10 — Bought In

    • 19 Sep 2024 — Phillips London, David Hockney — 14 March 2011, 14/25 — £177,800 ($236,090 USD)

    • 19 Sep 2024 — Phillips London, David Hockney — 30 April 2011, 13/25 — £190,500 ($252,954)

    • 27 Jun 2024 — Christie’s London, Post-War to Present — 21 March 2011, 22/25 — £163,800 ($207,236)

    • 27 Jun 2024 — Phillips London, Evening & Day Sale — 2 June 2011, 5/10 — £406,400 ($514,170)

    • 26 Mar 2024 — Christie’s Online, Contemporary Edition — 5 March 2011, 20/25 — £138,600 ($175,022)

    • 9 Mar 2024 — Christie’s London, Day Sale — 23 April 2011, 13/25 — £176,400 ($226,822)

    2023

    • 12 Dec 2023 — Bonhams London, Prints & Multiples — 19 February 2011, 17/25 — £108,350 ($135,930)

    • 12 Dec 2023 — Bonhams London, Prints & Multiples — 19 March 2011, 24/25 — £76,600 ($96,098)

    • 12 Dec 2023 — Bonhams London, Prints & Multiples — 16 March 2011, 17/25 — £82,950 ($104,064)

    • 7 Nov 2023 — Bonhams London, Text Me If You Can — 21 March 2011, 17/25 — £76,600 ($94,184)

    • 7 Nov 2023 — Bonhams London, Text Me If You Can — 25 February 2011, 24/25 — £70,250 ($86,376)

    • 13 Oct 2023 — Sotheby’s London, Contemporary Day — 30 March 2011, 11/25 — £139,700 ($169,538)

    • 26 Sep 2023 — Seoul Auction, Contemporary Art Sale — 22 May 2011, 8/25 — ₩170,000,000 ($125,588)

    • 21 Sep 2023 — Phillips London, David Hockney — 2 January 2011, 18/25 — £228,600 ($281,146)

    • 21 Sep 2023 — Phillips London, David Hockney — 25 February 2011, 3/25 — £95,250 ($117,144)

    • 27 Jun 2023 — Bonhams London, Prints & Multiples — 23 April 2011, 14/25 — £102,000 ($130,068)

    • 27 May 2023 — Bonhams Hong Kong — 18 March 2011, 24/25 — HK$1,083,500 ($138,328)

    • 25 May 2023 — Phillips Hong Kong, Disruptors — 4 May 2011, 17/25 — HK$1,079,500 ($137,784)

    • 12 May 2023 — Christie’s New York, Day Sale — 25 February 2011, 22/25 — $113,400

    • 19 Apr 2023 — Bonhams London, Hot Off the Press — 23 April 2011, 9/25 — £277,500 ($345,235)

    • 31 Mar 2023 — Phillips Hong Kong, Day Sale — 19 April 2011 — HK$889,000 ($113,248)

    • 3 Mar 2023 — Phillips London, Day Sale — 5 March 2011, 16/25 — £107,950 ($129,483)

    • 2 Mar 2023 — Sotheby’s London, Day Auction — 22 May 2011, 7/25 — £82,550 ($98,555)

    • 18 Jan 2023 — Phillips London, Editions — 19 May 2011, 14/25 — £100,800 ($124,644)

    • 18 Jan 2023 — Phillips London, Editions — 31 May 2011 (No. 2), 16/25 — £214,200 ($264,869)

    • 18 Jan 2023 — Phillips London, Editions — 18 January 2011, 9/25 — £163,800 ($202,547)

    • 18 Jan 2023 — Phillips London, Editions — 13 January 2011, 20/25 — £132,300 ($163,595)

    • 18 Jan 2023 — Phillips London, Editions — 17 May 2011, 22/25 — £189,000 ($233,708)

    2022

    • 13 Dec 2022 — Sotheby’s Hong Kong, Modern & Contemporary — 21 March 2011, 8/10 — HK$3,780,000 ($486,192 USD)

    • 13 Dec 2022 — Bonhams London, Prints & Multiples — 6 May 2011 — Bought In

    • 13 Sep 2022 — Phillips London, David Hockney — 19 February 2011, 11/25 — £315,000 ($363,154)

    • 13 Sep 2022 — Phillips London, David Hockney — 30 May 2011, 16/25 — £340,200 ($392,206)

    • 24 Aug 2022 — K Auction, August Auction — 19 February 2011, 19/25 — ₩170,000,000 ($126,935)

    • 21 Jun 2022 — Phillips Hong Kong, Day Sale — 24 April 2011, 21/25 — HK$756,000 ($96,308)

    • 19 May 2022 — Phillips New York, Day Sale — 17 April 2011, 9/25 — $277,200

    • 19 May 2022 — Phillips New York, Day Sale — 24 April 2011, 16/25 — $277,200

    • 9 Mar 2022 — Christie’s New York, Contemporary Edition — 24 April 2011, 16/25 — $119,700

    • 3 Mar 2022 — Phillips London, Evening Sale — 4 May 2011, 9/10 — £504,000 ($671,373 USD)

    2021

    • 23 Nov 2021 — Seoul Auction, Winter Sale — 19 February 2011, 3/25 — ₩250,000,000 ($209,969)

    • 21 Oct 2021 — Sotheby’s New York, Prints & Multiples — 1 January 2011, 22/25 — $176,400

    • 14 Oct 2021 — Artnet Auctions, Premier Prints & Multiples — 22 May 2011, 7/25 — $100,000

    • 24 Aug 2021 — Seoul Auction, 162nd Auction — 16 March 2011, 24/25 — ₩180,000,000 ($154,403)

    • 23 Jun 2021 — Bonhams London, Prints & Multiples — 5 May 2011, 17/25 — £125,250 ($175,052)

    • 27 Apr 2021 — Seoul Auction, 160th Auction — 2 June 2011, 16/25 — ₩230,000,000 ($206,652)

    2020

    • 25 Nov 2020 — K Auction, November Auction — 24 April 2011, 3/25 — ₩85,000,000 ($76,795)

    • 28 Oct 2020 — Seoul Auction, Busan Sale — 17 April 2011, 21/25 — ₩125,000,000 ($110,181)

    • 22 Oct 2020 — Sotheby’s London, Contemporary Day — 2011, 9/25 — £81,900 ($107,198)

    • 20 Aug 2020 — Sotheby’s London, Online — 23 April 2011, 21/25 — £47,880 ($63,124)

    2019

    • 23 Oct 2019 — Christie’s New York, Prints & Multiples — 11 May 2011, 12/25 — $60,000

    • 18 Sep 2019 — Christie’s London, Prints & Multiples — 30 May 2011, 9/25 — £43,750 ($54,591)

    • 12 Sep 2019 — Phillips London, Editions — 31 May 2011 (No. 2), 9/25 — £62,500 ($77,198)

    • 22 Aug 2019 — Sotheby’s Online, Contemporary Art Online — 1 April 2011, 16/25 — £68,750 ($84,180)

    • 27 Jun 2019 — Sotheby’s London, Contemporary Day — 23 April 2011, 16/25 — £50,000 ($63,387)

    • 27 Jun 2019 — Sotheby’s London, Contemporary Day — 27 April 2011, 13/25 — £56,250 ($71,310)

    2018

    • 26 Nov 2018 — Phillips Hong Kong, Day Sale — 4 May 2011, 17/25 — HK$437,500 ($55,917)

    • 17 Oct 2018 — Phillips New York, Editions — 16 May 2011, 19/25 — $93,750

    • 17 Oct 2018 — Phillips New York, Editions — 22 March 2011 — $93,750

    • 26 Sep 2018 — Forum Auctions, Editions & Works on Paper — 22 March 2011, 25/25 — £24,000 ($31,624)

    • 26 Sep 2018 — Forum Auctions, Editions & Works on Paper — 2 June 2011, 25/25 — £26,000 ($34,260)

    • 27 Jun 2018 — Sotheby’s London, Contemporary Day — 6 May 2011, 21/25 — £100,000 ($131,371)

    • 25 Jun 2018 — Forum Auctions, Editions & Works on Paper — 22 March 2011, 25/25 — Bought In

    • 24 Apr 2018 — Phillips New York, Editions — 26 April 2011, 11/25 — $56,250

    • 28 Mar 2018 — Christie’s London, Prints & Multiples — 2011, 14/25 — £42,500 ($59,968)

    • 28 Mar 2018 — Christie’s London, Prints & Multiples — 2011 (Large-scale 4-sheet), 8/10 — £77,500 ($109,355)

    2017

    • 29 Jun 2017 — Sotheby’s London, Contemporary Day — 1 April 2011, 11/25 — £56,250 ($73,032)

    • 7 Jun 2017 — Phillips London, Editions — 17 April 2011, 14/25 — £31,250 ($40,432)

    • 18 Apr 2017 — Phillips New York, Editions & Works on Paper — March 19; March 21; May 16; May 18, 2011 (set of 4), 12/25 — $100,000

    • 5 Mar 2017 — Los Angeles Modern Auctions — 19 March 2011, 19/25 — $38,750

    • 19 Jan 2017 — Phillips London, Editions — 1 April 2011, 23/25 — £31,250 ($38,494)

    • 19 Jan 2017 — Phillips London, Editions — 19 May 2011, 22/25 — £31,250 ($38,494)