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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. -
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 HockneyHockney’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.
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Illustration of a portable camera obscura studio, from Athanasius Kircher’s Ars Magna Lucis et Umbrae (1645).Public domain.
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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.
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A couple viewing David Hockney’s The Arrival of Spring exhibition at Salts Mill, Saltaire, Bradford.
Artwork © David Hockney. Photo © Alamy Stock Photo. -
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David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 2 January 2011, 2011iPad drawing printed on paper
55 x 41.5 In
Edition of 25 -
David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 6 May 2011, 2011iPad drawing printed on paper
55 x 41.5 In
Edition of 25 -
David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 12 May 2011, 2011iPad drawing printed on paper
55 x 41.5 In
Edition of 25 -
David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 18 December 2011, 2011iPad drawing printed on 4 sheets of paper
93 x 70 inch overall
Edition of 10
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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. -
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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. -
Installation view of David Hockney’s The Arrival of Spring at Salts Mill, Saltaire, Bradford.Artwork © David Hockney. Photo © Alamy Stock Photo.
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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 -
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David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 23 February 2011, 2011iPad drawing printed on paper
55 x 41.5 In
Edition of 25 -
David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 16 March 2011, 2011iPad drawing printed on paper
55 x 41.5 In
Edition of 25 -
David Hockney
The Arrival Of Spring in Woldgate, East Yorkshire, May 17th 2011, 2011iPad Drawing on paper
44 x 41.5 in
Edition of 25 -
David Hockney
The Arrival of Spring in Woldgate, East Yorkshire, 2nd June 2011, 2011iPad drawing printed on 4 sheets of paper
93 x 70 In
Edition of 10
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David Hockney, The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), 6 May.Artwork © David Hockney. Photo © Alamy Stock Photo
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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 printed on paper, 55 × 41.5 in. Edition of 25.
© David Hockney. -
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 CarringtonDate: 20th August 2025 -