• David Hockney has always made the familiar feel newly seen. “Something More Old” brings together a focused selection of works that trace the artist’s return to classic subjects—portraiture, still life, landscape—while showing how radically he refreshes them through printmaking. Across swimming pools, sunlit views, and intimate interiors, Hockney turns everyday motifs into studies of perception: how light behaves, how color creates depth, and how memory shapes what we think we’re looking at. The result is work that feels immediate and contemporary, even when it’s rooted in art history and longstanding traditions.
  • CHANGE YOUR PERSPECTIVE
    "I instinctively knew I was going to like it, and as I flew over San Bernardino and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I have ever been in arriving in any city". 
     
     
     
     
  • David Hockney, Afternoon Swimming, 1980

    David Hockney

    Afternoon Swimming, 1980
    Lithograph

    31 1/8 x 39 in
    79 x 99 cm
    Edition of 55
    • David Hockney Lithograph Of Water Made Of Lines, Crayon And A Blue Wash, 1980
      David Hockney
      Lithograph Of Water Made Of Lines, Crayon And A Blue Wash, 1980
    • David Hockney Pool Made with Paper and Blue Ink for Book of Paper Pools, 1980
      David Hockney
      Pool Made with Paper and Blue Ink for Book of Paper Pools, 1980
    • David Hockney Views of Hotel Well I, 1984-85
      David Hockney
      Views of Hotel Well I, 1984-85
  • THE MUSE: Celia Birtwell
    "Portraits aren't just made up of drawing, they are made up of other insights as well. Celia is one of the few girls I know really well. I've drawn her so many times and knowing her makes it always slightly different." 
     
     
     
     
  • David Hockney, Celia with Green Hat, 1984

    David Hockney

    Celia with Green Hat, 1984
    Lithograph in colors on wove paper
    Signed, dated and numbered in pencil
    29 1/2 x 22 in.
    74.9 x 55.8 cm
    Edition of 98
    • David Hockney Celia, 1973
      David Hockney
      Celia, 1973
    • David Hockney Red Celia , 1984
      David Hockney
      Red Celia , 1984
    • David Hockney Celia In A Wicker Chair, 1974
      David Hockney
      Celia In A Wicker Chair, 1974
  • THE ART OF COPYING
    “But with these copying machines, I can work by myself — indeed you virtually have to work by yourself; there’s nothing for anyone else to do — and I can work with great speed and responsiveness. In fact, this is the closest I’ve ever come in printing to what it’s like to paint: I can put something down, evaluate it, alter it, revise it, all in a matter of seconds.’
     
     
     
     
  • David Hockney, Flowers, Apples, and Pear on a Table , 1986

    David Hockney

    Flowers, Apples, and Pear on a Table , 1986
    Home Made Print on four sheets of paper
    22 x 17 in
    55.9 x 43.2 cm
    Edition of 59
    • David Hockney Landscape with a Plant, 1986
      David Hockney
      Landscape with a Plant, 1986
    • David Hockney Grey Blooms, 1986
      David Hockney
      Grey Blooms, 1986
    • David Hockney Green, Grey and Blue Plant, 1986
      David Hockney
      Green, Grey and Blue Plant, 1986
    • David Hockney Dancing Flowers, 1986
      David Hockney
      Dancing Flowers, 1986
    • David Hockney Drooping Plant, June 1986, 1986
      David Hockney
      Drooping Plant, June 1986, 1986
    • David Hockney Lemons and Oranges, 1986
      David Hockney
      Lemons and Oranges, 1986
    • David Hockney Office Chair, 1986
      David Hockney
      Office Chair, 1986
    • David Hockney The Student, Homage to Picasso, 1973
      David Hockney
      The Student, Homage to Picasso, 1973
    • David Hockney Walking, 1986
      David Hockney
      Walking, 1986
    • David Hockney Stanley In a Basket, 1986
      David Hockney
      Stanley In a Basket, 1986
  • Something More Old underscores why Hockney’s work continues to resonate so powerfully with serious collectors: it balances reverence for tradition with an unrelenting curiosity about how we see the world now. By revisiting enduring subjects through evolving techniques, he demonstrates that innovation does not require abandoning the past—it requires looking at it differently. These works are not nostalgic; they are reaffirmations of painting’s vitality in contemporary culture. In Hockney’s hands, the “old” becomes expansive, experimental, and undeniably current—an enduring testament to an artist who has never stopped learning how to look.

    Explore Something More New.