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Untitled No. 468 - Signed Print by David Hockney 2010 - MyArtBroker

Untitled No. 468
Signed Print

David Hockney

£18,000-£26,000Value Indicator

$35,000-$50,000 Value Indicator

$35,000-$50,000 Value Indicator

¥170,000-¥250,000 Value Indicator

21,000-30,000 Value Indicator

$190,000-$270,000 Value Indicator

¥3,400,000-¥4,920,000 Value Indicator

$24,000-$35,000 Value Indicator

14% 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: Digital Print

Edition size: 250

Year: 2010

Size: H 44cm x W 33cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of David Hockney’s Untitled No. 468 (signed) is estimated to be worth between £18,000 and £26,000. This digital print, created in 2010, has shown consistent value growth, with an average annual growth rate of 14%. This work has an impressive auction history, having been sold 13 times since its initial sale on 18th December 2017. The hammer price over the past five years has ranged from £9,168 in October 2020 to £22,080 in March 2023. The current screenprint, which is part of a limited edition of 250, has an auction history of 1 sale in the last 12 months, with an average selling price of £19,000.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
September 2024Phillips London United Kingdom
March 2024Christie's London United Kingdom
November 2023Van Ham Fine Art Auctions Germany
September 2023Phillips London United Kingdom
March 2023Tate Ward Auctions United Kingdom
April 2021Phillips New York United States
October 2020Phillips New York United States

Meaning & Analysis

Untitled No. 468 is a digital print on archival paper of an iPad drawing, executed by David Hockney in 2010. Here a potted leafy plant in a terracotta pot sits atop a black table. Positioned in the corner of a room, the background details have been executed somewhat hastily, the digital pen marks skating across the page. As digital tools are unquestionably more mobile, the medium enables Hockney to quickly sketch what is before him: representing his everyday environments. Hockney works in vector-based, rather than pixel-based images. This enables a maximisation of sharpness, colour and saturation, which are then rendered more easily into large-scale prints for the clearer display of his details. Hockney favors digital mediums for their capacity for greater trial and error: “the iPhone makes you bold”, Hockney confesses, as one can go back at any time and ‘undo’ a brush stroke. Thus all possibilities, instincts and impulses can be explored without regret.

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