Ann Seated In Director's Chair
Ann Seated In Director's Chair
Signed Print
David Hockney
£5,500-£8,500
$10,500-$16,000 Value Indicator
$10,000-$15,000 Value Indicator
¥50,000-¥80,000 Value Indicator
€6,500-€10,000 Value Indicator
$60,000-$90,000 Value Indicator
¥1,070,000-¥1,660,000 Value Indicator
$7,000-$11,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 5
Year: 1980
Size: H 76cm x W 111cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2020 | Christie's New York - United States | Ann Seated In Director's Chair - Signed Print | |||
| September 2019 | Phillips London - United Kingdom | Ann Seated In Director's Chair - Signed Print | |||
| April 2014 | Christie's New York - United States | Ann Seated In Director's Chair - Signed Print |
Meaning & Analysis
Ann Seated In Director's Chair is a lithograph by David Hockney, created in 1979. This artwork portrays Ann, a friend and frequent model of Hockney's, seated in a director's chair. The piece is printed in deep magenta on grey BFK Rives paper, measuring 76.1 x 111.8 cm, and forms part of Hockney's series exploring portraiture and everyday moments, produced in collaboration with Tyler Graphics Ltd.
In Ann Seated In Director's Chair, Hockney employs lithography to create nuanced tonal variations. The magenta lines contrast effectively against the grey paper background, creating a visual interplay of positive and negative space. Hockney's economical use of line in this piece efficiently captures Ann's relaxed posture and the structure of the director's chair, while more generous application of the ink in the sitter's hair and skirt gives an impression of different textures.
Ann, who modelled for Hockney frequently from 1962, is rendered here with a sense of familiarity and ease. The informal nature of the pose and setting reflects Hockney's interest in capturing intimate, unguarded moments with his close friends and family.
The print showcases Hockney's skilled manipulation of the lithographic stone or plate to achieve varying line weights and textures. The limited colour palette emphasises form and composition over chromatic complexity, a characteristic feature of many of Hockney's prints from this period.