David Hockney O.M. C.H. R.A. (British, b.1937)
Pretty Tulips [S.A.C. 115]

1969
signed, dated, titled and numbered 4/200 in pencil
lithograph in colours on Crisbrook handmade wove
published by Petersburg Press, London and New York
framed
ARR

Dimensions: image 50 x 71cm

Gifted to the present owner

Literature: S.A.C. 115

Pretty Tulips is a compelling example of David Hockney’s exceptional draughtsmanship and his ability to re-invigorate a traditional still-life subject through a distinctly modern lens. Not a pun or an ironic title, Hockney is earnest in his celebration of a beautiful, classical subject. The composition centres on a vibrant blue, patterned vase holding a bouquet of tulips rendered in subtle tones of pink and red. The assured line and sensitive use of colour give the flowers a distinctly Hockney feel, while the restrained palette allows the naturalist, delicate forms to remain the focus.

Flowers recur throughout Hockney’s oeuvre, serving as a continual source of inspiration and formal exploration. Flower studies are an integral part of the still life genre and Tulips in particular have held a fascination for the artist, not least because of their sensitivity to water and their expressive response once cut. As they sit in a vase, tulips characteristically droop and shift, their changing forms encapsulating the passage of time.

In Pretty Tulips, the dynamic nature of the composition is heightened by the variation in the tulips themselves, some blooms droop gracefully over the rim of the vase almost resting on the glass table below, while others stand upright, capturing both the physical dexterity of the flower and its natural cycle of growth and decline. Hockney embraces this transience, imbuing the work with a quiet poignancy that elevates the everyday subject into something contemplative and enduring. This gentle asymmetry introduces a sense of movement and temporality, transforming the still life into a quietly expressive meditation on change.

Below the vase, Hockney includes its reflection on the reflective tabletop, slightly warped and softened, accompanied by a subtle shadow. This mirrored element adds depth to the composition and demonstrates Hockney’s playful engagement with spatial perception and visual distortion. The lithograph is printed in six colours, a technical restraint that underscores his mastery of the medium and his ability to achieve richness and nuance through economical means.