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Slightly Damaged Chair, Malibu - Signed Print by David Hockney 1973 - MyArtBroker

Slightly Damaged Chair, Malibu
Signed Print

David Hockney

£3,500-£5,000Value Indicator

$7,000-$10,000 Value Indicator

$6,500-$9,000 Value Indicator

¥30,000-¥45,000 Value Indicator

4,250-6,000 Value Indicator

$35,000-$50,000 Value Indicator

¥660,000-¥950,000 Value Indicator

$4,450-$6,500 Value Indicator

-6% AAGR

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: 60

Year: 1973

Size: H 59cm x W 48cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of David Hockney's Slightly Damaged Chair, Malibu (signed) is estimated to be worth between £3,500 and £5,000. Over the past 12 months, the average selling price was £3,738, across a total of 1 sale. The hammer price in the last five years has ranged from £2,032 in November 2023 to £3,738 in November 2024. This lithograph print, created in 1973, demonstrates an average annual growth rate of -6%. This work is rare to the market, having been sold 7 times since its initial sale in March 2005. The edition size of this artwork is limited to 60.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
November 2024Bonhams Cornette de Saint Cyr France
November 2023Sotheby's Online United Kingdom
May 2018Wright United States
March 2017Christie's London United Kingdom
September 2015Sotheby's Online United Kingdom
October 2008Christie's New York United States
March 2005Bonhams New Bond Street United Kingdom

Meaning & Analysis

Like the print Sofa 8501 Hedges Place, this minimal etching recalls German Renaissance artist Albrecht Dürer’s famous studies of pillows. Attentive to folds and other minor defects in the surface of the ‘slightly damaged’ chair, Hockney operates with a lightness of touch that seeks to bring out a level of nuance and detail from an otherwise quotidian domestic object. There is a photorealist element to the piece, which references Hockney’s long-standing use of photography as a visual aid for his work. Such is Hockney’s interest in the role of visual aids in painting that in 2001, Hockney advanced a theory that has come to be known as the Hockney-Falco Thesis. This theory postulates that advances in realism and accuracy in Western painting during the 17th , 18th, and 19th centuries was largely the result of optical instruments, such as curved mirrors, the camera obscura, and the camera lucida – a technology that Hockney himself used himself in order to create a series of drawings in 1999. In 1973, at the time of this piece’s production, Hockney spent a large amount of time at the Gemini G.E.L. printing studio working on The Weather Series. Like these evocative yet minimal pieces, which were first inspired by a trip Hockney made to Japan following his breakup with Peter Schlesinger, this print maintains considerable distance from the artist’s figurative depictions of friends, such as Celia Birtwell, and recalls themes of loneliness and isolation.

  • 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.