Two Pembroke Studio Chairs
Two Pembroke Studio Chairs
Signed Print
David Hockney
£11,000-£17,000
$22,000-$35,000 Value Indicator
$20,000-$30,000 Value Indicator
¥100,000-¥160,000 Value Indicator
€13,500-€21,000 Value Indicator
$110,000-$170,000 Value Indicator
¥2,130,000-¥3,300,000 Value Indicator
$14,000-$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: Lithograph
Edition size: 98
Year: 1984
Size: H 40cm x W 49cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Bonhams Los Angeles | United States | |||
| September 2022 | Phillips London | United Kingdom | |||
| March 2022 | Sotheby's Online | United Kingdom | |||
| October 2018 | Sotheby's New York | United States | |||
| May 2018 | Bonhams New York | United States | |||
| April 2018 | Wright | United States | |||
| April 2018 | Wright | United States |
Meaning & Analysis
As with Pembroke Studio Interior and Conversation In The Studio, in Two Pembroke Studio Chairs we see Hockney returning to a central theme in the Moving Focus series, that of a studio interior and chairs, one of his favourite subjects. The main theme is perhaps perspective though, and here we see the chairs transformed from simple items of furniture into experiments with multiple viewpoints, their backs and arms, texture and structure, collapsing into themselves as they struggle to remain intact under the artist’s fractured gaze. The chair on the right, in green rattan is contrasted with the simple wooden fold up chair in yellow on the left. Both appear tilted towards us, an effect that is enhanced by the fragmented floor which suggests the floorboards have been cut up and rearranged. The chairs cast spiky and disorienting shadows, adding to the unsettling feeling of this less than straightforward interior. Dating from 1984 to 1986, Moving Focus sees the artist experimenting with Cubist influences to produce a series of experimental lithographs that reject the order and perspective of his earlier work to produce bold new compositions.
