$11,500-$17,000 Value Indicator
$10,500-$15,000 Value Indicator
¥50,000-¥80,000 Value Indicator
€7,000-€10,500 Value Indicator
$60,000-$90,000 Value Indicator
¥1,120,000-¥1,680,000 Value Indicator
$7,500-$11,500 Value Indicator
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: Planographic print
Format: Signed Print
Size: H 28cm x W 36cm
Edition size: 68
David Hockney's Slow Forest, a signed planographic print from 1993, is estimated to be worth £6,000 to £9,000 and has been sold at auction seven times. The artwork has shown a robust increase in value with an average annual growth rate of 10% over the last five years. The hammer price has remained steady at £7,000 in the recent sale on 28th September 2022. This work has found homes in three different countries, including the United Kingdom, United States, and South Africa, since its initial sale in June 2008. The edition size of this artwork is limited to 68.
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2022||Christie's London - United Kingdom||Slow Forest - Signed Print|
|October 2017||Wright - United States||Slow Forest - Signed Print|
|May 2017||Doyle New York - United States||Slow Forest - Signed Print|
|April 2015||Christie's New York - United States||Slow Forest - Signed Print|
|September 2008||Aspire Auctions - United States||Slow Forest - Signed Print|
|June 2008||Christie's London - United Kingdom||Slow Forest - Signed Print|
|November 1996||Christie's New York - United States||Slow Forest - Signed Print|
Filled with inky drips and watery brushmarks, Slow Forest is characteristic of the Some New Prints series which sees Hockney combining lithography and screen printing to produce a portfolio that pushes the limits of printmaking. Made in collaboration with the Gemini print workshop in 1993, this and other works from the series derive from the 1992 series Some New Paintings which in turn were inspired by the sets Hockney was commissioned to design for a production of Richard Strauss’s opera Die Frau Ohne Schatten, or the woman without a shadow, in 1992. Here we see a perhaps more figurative composition compared to many of the more abstract works in the present series, however the forest of the title is still hard to discern. The stalks or trunks, trees or flowers, we are presented with appear less like a natural forest and more like a screen or brise-soleil. Here we see Hockney’s intention to paint ‘internal landscapes’, or dreamlike compositions, that cause the viewer’s eye to ‘wander’. While many of his earlier prints are concerned with representing landscapes as they appear to the eye here he engages with the mind’s eye, asking the viewer to read into the scene and to consider more than one perspective.