As one of art\u2019s most bankable names, David Hockney\u2019s work is a regular feature of any given Art Basel fair. Following the artist\u2019s death on 11 June, sightings of his work at this year\u2019s fair carry greater poignancy, as the art world mourns one of its most beloved figures.<\/p>\n
No gallery today is as closely associated with Hockney as Annely Juda in London, which has represented him since the 1990s, after his first gallery, Kasmin, closed its London location. Among the Hockney works on its stand this year, Annely Juda is offering Delphiniums on My Garden Table, July 2025 (2025). The artist painted it after his birthday last year, capturing the flowers that were given to him, says the gallery\u2019s founder David Juda, who knew Hockney since the 1960s and sat for him multiple times. The work is on offer for $12m.<\/p>\n
Another London gallery, Offer Waterman, specialises in the secondary market for Hockney\u2019s works on paper from the 1960s and 1970s, and has two drawings from that period on its stand, both priced upwards of \u00a3100,000. One depicts Mo McDermott, his then assistant; the other is of his close friend Tim Macdonald on Fire Island in New York, known for its queer community and legendary party scene. As Hockney\u2019s biographer Christopher Sykes wrote of the artist\u2019s summers on the island, he was there for \u201cthe tea dances, the drugs and the disco\u201d. Indeed, alongside bucolic landscapes and interior scenes, Hockney is also known for more risqu\u00e9 content. In the backroom of the gallery\u2019s stand is a drawing of a naked man in California, \u201cwith his willy poking out\u201d, says Robin Cawdron-Stewart, the senior director at the gallery.<\/p>\n
I will always remember the look of joy on his face that night as he opened his greatest career achievement <\/p>\n
Valerie Carberry, Richard Gray Gallery<\/p>\n
Hockney crops up across the fair, including at Pace and Lelong. Richard Gray Gallery from Chicago has sold two works by Hockney, including an $8.5m painting of his studio interior from 2014, to a US collection. Valerie Carberry, its chief executive, recalls her last memory of Hockney at the opening of his retrospective at the Fondation Louis Vuitton in Paris in 2025. \u201cI will always remember the look of joy on his face that night as he opened his greatest career achievement.\u201d<\/p>\n
Stands at Art Basel are planned many weeks, if not months, in advance, particularly as shipping and related logistics remain complex and expensive, meaning it is unlikely that any gallery would have brought works to the fair to honour Hockney\u2019s passing. While the impact on his market is yet to be properly studied, one platform, MyArtBroker, has recorded a more than 1,200% increase in collector demand for David Hockney editions within 48 hours of the artist\u2019s death, observed across its private sales platform. Charlotte Stewart, its managing director, said in a statement: \u201cWe always expect a response after an artist\u2019s passing, but the scale and speed of this one has been exceptional. What makes Hockney different is that he never [became] a historical figure while he was alive. He remained an active, evolving artist, still experimenting, still capable of surprising collectors. His market was booming when we lost\u00a0him.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"As one of art\u2019s most bankable names, David Hockney\u2019s work is a regular feature of any given Art…\n","protected":false},"author":2,"featured_media":86691,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[8],"tags":[43250,1224,77,9227,43764],"class_list":["post-86690","post","type-post","status-publish","format-standard","has-post-thumbnail","category-basel","tag-art-basel-2026","tag-art-market","tag-basel","tag-commercial-galleries","tag-david-hockney"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@ch\/116770450149932169","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/posts\/86690","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/comments?post=86690"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/posts\/86690\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/media\/86691"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/media?parent=86690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/categories?post=86690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/ch\/wp-json\/wp\/v2\/tags?post=86690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}