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The Ashtray, Sunday Morning, Tokyo - Signed Print by David Hockney 1983 - MyArtBroker

The Ashtray, Sunday Morning, Tokyo
Signed Print

David Hockney

£14,500-£22,000Value Indicator

$30,000-$45,000 Value Indicator

$27,000-$40,000 Value Indicator

¥140,000-¥220,000 Value Indicator

€17,000-€26,000 Value Indicator

$160,000-$240,000 Value Indicator

¥2,860,000-¥4,340,000 Value Indicator

$20,000-$30,000 Value Indicator

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143 x 136cm, Edition of 20, Photographic print

Medium: Photographic print

Edition size: 20

Year: 1983

Size: H 143cm x W 136cm

Signed: Yes

Format: Signed Print

Last Auction: October 2022

Value Trend:

-11% 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
October 2022
Christie's London
United Kingdom
£13,709
£16,128
£20,160
October 2015
Phillips New York
United States
March 2014
Phillips New York
United States
September 2012
Christie's London
United Kingdom
October 2011
Phillips London
United Kingdom
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Track auction value trend

The value of David Hockney’s The Ashtray, Sunday Morning, Tokyo (signed) is estimated to be worth between £14,500 and £22,000. This photographic print, created in 1983, has been sold five times at auction since its entry to the market on 12th October 2011. The average annual growth rate of this artwork is currently -11%. This work is somewhat rare, with an auction history showing a consistent value. The edition size of this artwork is limited to 20.

Created with Highcharts 11.4.8Oct 2011Aug 2013Jun 2015Apr 2017Feb 2019Dec 2020Oct 2022£10,000£12,000£14,000£16,000£18,000£20,000£22,000© MyArtBroker

Meaning & Analysis

The Ashtray, Sunday Morning, Tokyo is a signed print by British artist David Hockney. Depicting a Tokyo street from many different angles, it engages directly with the interplay between the urban environment and nature, much like another print in the Photo Collages collection, Graffiti Palace, New York (1982), which chooses a rotunda in New York’s Central Park as its subject matter. Taken during one of Hockney’s trips to Japan, a country he has been visiting since 1971 – a year marred by his breakup with American artist Peter Schlesinger – the piece’s multiple perspectives marry the urban and the natural world. In this piece, one of the many focal points of Hockney’s camera-as-eye is a tree jutting out of the pavement; surrounded by power cables and bold signage rendered in Japanese ‘Kanji’ script, the tree serves as a visual link to another of Hockney’s photo collages which portrays the Merced River, Yosemite Valley (1983). Movement is not absent from this piece, however, with Hockney tracing a figure’s movement as they walk across the street. Committing each moment of this miniature ‘event’ to the composition, Hockney references his own photographic philosophy and advocation of a new form of image-making which would better reflect the human experience.

  • 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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