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White Lines Dancing In Printing Ink - Signed Print by David Hockney 1990 - MyArtBroker

White Lines Dancing In Printing Ink
Signed Print

David Hockney

£7,500-£11,500Value Indicator

$16,000-$24,000 Value Indicator

$13,500-$21,000 Value Indicator

¥70,000-¥110,000 Value Indicator

8,500-13,000 Value Indicator

$80,000-$120,000 Value Indicator

¥1,410,000-¥2,150,000 Value Indicator

$10,000-$15,000 Value Indicator

21% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Lithograph

Edition size: 35

Year: 1990

Size: H 74cm x W 100cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of David Hockney’s White Lines Dancing In Printing Ink (signed) is estimated to be worth between £7,500 and £11,500. This lithograph print, created in 1990, has shown consistent value growth, with an average annual growth rate of 17%. This work has an impressive auction history, having been sold 7 times since its initial sale on 16th July 2014. In the past 12 months, the average selling price was £7,442, with a total of 1 artwork sold. Over the past five years, the hammer price has ranged from £4,565 in November 2020 to £13,000 in April 2022. The average annual growth rate of this work is 17%. The edition size of this artwork is limited to 35.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
April 2025Bonhams Los Angeles United States
April 2022Bonhams Knightsbridge United Kingdom
September 2021Forum Auctions London United Kingdom
November 2020Rago United States
October 2018Phillips New York United States
March 2016Christie's New York United States
July 2014Christie's New York United States

Meaning & Analysis

Issued in 1990, this print by venerated British artist David Hockney is entitled White Lines Dancing In Printing Ink. Much like the 1991 print, Rampant, White Lines Dancing In Printing Ink confirms Hockney’s fascination with the representation of immaterial themes, such as movement. Taking heed from the Impressionist movement of the late nineteenth century, which catalysed Modernism and subsequent art sub-movements such as Cubism – of which Hockney is a great admirer – this work sees Hockney do away with traditional artistic methodologies. Rather than portraying any real-life subject, as in the artist’s numerous Still Life works, Hockney inscribes a theatrical, abstracted, and disorientating form directly into the printing ink in an inversion of both form and function. Much like the artist’s Snails Space series, the piece is constitutive of a quasi-immersive experience which seeks to use painting as a means to emulate dynamic movement. The white lines may appear, at least at first viewing, to be random forms; yet, in his trademark tongue-in-cheek fashion, Hockney is sure to allude to their capacity for self-determination, giving them each a pair of feet with which to ‘move’. Later in 1990, Hockney would further distance himself from artistic norms, integrating computer drawing software into his work for the first time. This pronounced step away from traditional media would see him go on to produce his iPad drawings and The Arrival Of Spring In 2011.