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Slightly Damaged Chair, Malibu - Signed Print by David Hockney 1973 - MyArtBroker

Slightly Damaged Chair, Malibu
Signed Print

David Hockney

£3,150-£4,700Value Indicator

$6,500-$9,500 Value Indicator

$6,000-$8,500 Value Indicator

¥30,000-¥45,000 Value Indicator

3,650-5,500 Value Indicator

$35,000-$50,000 Value Indicator

¥630,000-¥940,000 Value Indicator

$4,250-$6,500 Value Indicator

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59 x 48cm, Edition of 60, Lithograph

Medium: Lithograph
Edition size: 60
Year: 1973
Size: H 59cm x W 48cm
Signed: Yes
Format: Signed Print
Last Auction: November 2024
Value Trend:
-8% AAGR

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

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
November 2024
Bonhams Cornette de Saint Cyr
France
$4,050
$4,750
$6,000
November 2023
Sotheby's Online
United Kingdom
May 2018
Wright
United States
March 2017
Christie's London
United Kingdom
September 2015
Sotheby's Online
United Kingdom
October 2008
Christie's New York
United States
March 2005
Bonhams New Bond Street
United Kingdom
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Track auction value trend

The value of David Hockney's Slightly Damaged Chair, Malibu (signed) is estimated to be worth between £3,150 and £4,700. This lithograph print, created in 1973, has shown consistent value growth and has an auction history of 7 total sales since its entry to the market in March 2005. Over the past 12 months, the average selling price was £3,738 across 1 total sale. The hammer price over the last five years has ranged from £2,032 in November 2023 to £3,738 in November 2024. The average annual growth rate of this work is -8%. The edition size of this artwork is limited to 60.

Created with Highcharts 11.4.8Mar 2005Jun 2008Oct 2011Jan 2015Apr 2018Aug 2021Nov 2024$3,500$4,000$4,500$5,000$5,500$6,000$6,500© MyArtBroker

Meaning & Analysis

Like the print Sofa 8501 Hedges Place, this minimal etching recalls German Renaissance artist Albrecht Dürer’s famous studies of pillows. Attentive to folds and other minor defects in the surface of the ‘slightly damaged’ chair, Hockney operates with a lightness of touch that seeks to bring out a level of nuance and detail from an otherwise quotidian domestic object. There is a photorealist element to the piece, which references Hockney’s long-standing use of photography as a visual aid for his work. Such is Hockney’s interest in the role of visual aids in painting that in 2001, Hockney advanced a theory that has come to be known as the Hockney-Falco Thesis. This theory postulates that advances in realism and accuracy in Western painting during the 17th , 18th, and 19th centuries was largely the result of optical instruments, such as curved mirrors, the camera obscura, and the camera lucida – a technology that Hockney himself used himself in order to create a series of drawings in 1999. In 1973, at the time of this piece’s production, Hockney spent a large amount of time at the Gemini G.E.L. printing studio working on The Weather Series. Like these evocative yet minimal pieces, which were first inspired by a trip Hockney made to Japan following his breakup with Peter Schlesinger, this print maintains considerable distance from the artist’s figurative depictions of friends, such as Celia Birtwell, and recalls themes of loneliness and isolation.

  • British-born artist David Hockney is a kaleidoscopic force in the art world. Born in 1937, Hockney's vibrant palette and innovative techniques have left an indelible mark on contemporary art. A pioneer of the British Pop Art movement in the 1960s, he seamlessly transitioned through various styles, from photo collages to vivid landscapes. Renowned for his exploration of light and space, Hockney's versatility extends to painting, printmaking, photography, and stage design. A captivating storyteller, his works often capture the essence of modern life with a playful yet profound touch. With a career spanning decades, Hockney remains an enduring visionary in the ever-evolving art world.

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