£20,000-£29,000 VALUE (EST.)
$40,000-$50,000 VALUE (EST.)
$35,000-$50,000 VALUE (EST.)
¥180,000-¥260,000 VALUE (EST.)
€23,000-€35,000 VALUE (EST.)
$200,000-$280,000 VALUE (EST.)
¥3,490,000-¥5,060,000 VALUE (EST.)
$25,000-$35,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 125
H 41cm x W 34cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|October 2022||Doyle New York - United States||Panama Hat On A Chair With Jacket - Signed Print|
|September 2022||Christie's London - United Kingdom||Panama Hat On A Chair With Jacket - Signed Print|
|May 2022||Bonhams New York - United States||Panama Hat On A Chair With Jacket - Signed Print|
|March 2022||Forum Auctions London - United Kingdom||Panama Hat On A Chair With Jacket - Signed Print|
|March 2022||Julien's Auctions - United States||Panama Hat On A Chair With Jacket - Signed Print|
|February 2022||Christie's New York - United States||Panama Hat On A Chair With Jacket - Signed Print|
|April 2021||Sotheby's New York - United States||Panama Hat On A Chair With Jacket - Signed Print|
This signed print by venerated British artist David Hockney, entitled Panama Hat On A Chair With Jacket. Issued in an edition of 125 in 1972, it is a still life work depicting the belongings of one of Hockney’s first major patrons, and lifelong friend, Henry Geldzahler.
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.