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Panama Hat On A Chair With Jacket - Signed Print by David Hockney 1972 - MyArtBroker

Panama Hat On A Chair With Jacket
Signed Print

David Hockney

£27,000-£40,000Value Indicator

$50,000-$80,000 Value Indicator

$50,000-$70,000 Value Indicator

¥240,000-¥360,000 Value Indicator

30,000-50,000 Value Indicator

$260,000-$390,000 Value Indicator

¥5,260,000-¥7,790,000 Value Indicator

$35,000-$50,000 Value Indicator

18% 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: Intaglio

Edition size: 125

Year: 1972

Size: H 41cm x W 34cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of David Hockney's Panama Hat On A Chair With Jacket (signed) is estimated to be worth between £27,000 and £40,000. This intaglio print, created in 1972, has shown consistent value growth, with an average annual growth rate of 18%. This work has an impressive auction history, having been sold 31 times at auction since its initial sale on 20th November 1993. In the past 12 months, the average selling price was £29,372, with the hammer price ranging from £11,852 in December 2020 to £29,372 in October 2024. The edition size of this artwork is limited to 125.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2024Sotheby's New York United States
October 2023Sotheby's New York United States
October 2022Doyle Auctioneers & Appraisers United States
September 2022Christie's London United Kingdom
May 2022Bonhams New York United States
March 2022Forum Auctions London United Kingdom
March 2022Julien's Auctions United States

Meaning & Analysis

Much like Panama Hat On A Chair, another similar work in David Hockney’s Chairs series, Panama Hat On A Chair With Jacket is a visual tribute to one of the artist’s lifelong friends and supporters, Henry Geldzahler. Born in Belgium in 1935, Geldzahler and his family emigrated to the United States in 1940. The cigar-toting, larger-than-life character went on to become the first curator for 20th-century art at New York’s Metropolitan Museum, introducing Hockney to the likes of Dennis Hopper and Andy Warhol during his first visits to the city in the early ‘60s. Despite the absence of any figure from this print, it remains full of life; through the representation of Geldzahler’s possessions – a jacket, a panama hat, an empty glass, and a pipe, all sat atop the ghostly suggestion of one of Hockney’s signature chairs – absence comes to suggest presence, shifting the work from a still life to a kind of rhetorical portrait. The stripes of Geldzahler’s blazer are geometric and hard-edged, recalling the graphic nature of much of Hockney’s wider œuvre. Lending the scene a source of rich, texture and depth-inducing contrast, the jacket mimics the widespread use of drapery in art history – referencing, perhaps, Hockney’s continued love and admiration of canonical art figures, such as Michelangelo.