Still Life With Curtains And Two Red Chairs And Table
Still Life With Curtains And Two Red Chairs And Table
Signed Print
David Hockney
£11,500-£17,000
$23,000-$35,000 Value Indicator
$21,000-$30,000 Value Indicator
¥110,000-¥160,000 Value Indicator
€14,000-€20,000 Value Indicator
$120,000-$170,000 Value Indicator
¥2,290,000-¥3,380,000 Value Indicator
$15,000-$22,000 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: Digital Print
Edition size: 48
Year: 1986
Size: H 22cm x W 28cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2023 | Phillips London - United Kingdom | Still Life With Curtains And Two Red Chairs And Table - Signed Print | |||
| November 2021 | Bonhams New York - United States | Still Life With Curtains And Two Red Chairs And Table - Signed Print | |||
| July 2018 | Sotheby's New York - United States | Still Life With Curtains And Two Red Chairs And Table - Signed Print | |||
| May 2013 | Sotheby's New York - United States | Still Life With Curtains And Two Red Chairs And Table - Signed Print | |||
| June 1995 | Christie's London - United Kingdom | Still Life With Curtains And Two Red Chairs And Table - Signed Print |
Meaning & Analysis
With its red, blue, green and black palette, Still Life With Curtains is instantly recognisable as part of the Home Made Prints series. As well as its vivid tones the work stands out for its range of textures which also characterises the series. The lush curtains are rendered with broad brushstrokes while the floor and the leaves appear to have been drawn with a crayon. Elsewhere fine lines pick out the grain of the wood of the table and black felt tip marks outline the stems and petals of the flowers. Admittedly all these could be elements of a lithograph but the photocopier belies itself in the surface of the vase, which appears grainy to the eye. Together the effect is of great dynamism, the different colours and textures lending both surface and depth to this cheerful scene. Here we see Hockney’s freedom in the medium coming to the fore – a freedom that allowed him to experiment and create independently and spontaneously, without the help of any assistants. Hockney has been experimenting with various printing techniques throughout his career and today we see these early experiments with the photocopier live on in his iPad drawings which have kept the artist as relevant today as he was in the ’80s.
