David Shrigley

Life and contemporary practice

David Shrigley is a British visual artist born in 1968 who works within contemporary art. His practice encompasses painting, drawing, photography, sculpture, new media, film direction and screenwriting, multimedia work, and cartooning. Shrigley lived and worked in Glasgow, Scotland for twenty seven years before relocating to Brighton, England in 2015. He emerged in the 1990s with a distinctive visual language built around line drawings executed in a deliberately rough, almost childlike manner. These drawings frequently explore witty, surreal and darkly humorous themes, establishing a recognisable aesthetic that has remained central to his output. Beyond his illustration work, Shrigley has developed a substantial body of work in painting, sculpture, film and photography. He has also recorded spoken word albums featuring his writing and poetry, extending his practice into performance and sound. His work is held in public collections including the Art Institute of Chicago, which houses drawings from 1996 to 1998 and a colour chromogenic photograph from 1996.

Drawings, editions, sculpture and unique works

Shrigley's output divides into several distinct categories that behave differently in the saleroom. His drawings, typically executed in black fibre tipped pen on paper, form a core part of his practice and exist as unique works. These drawings vary in scale but often appear on modest sheets of cream or white wove paper. His photographic work includes colour chromogenic prints, which may exist as unique pieces or in small editions. Sculpture represents another significant strand, ranging from small scale objects to large public commissions, and these works are typically unique or produced in very limited numbers. Shrigley also produces editioned prints, including lithographs, screenprints and etchings, which are issued in numbered runs. The market distinguishes sharply between unique drawings and paintings, which command higher prices due to their singularity, and editioned prints, which are more accessible. Sculptural works occupy a middle ground, with value determined by scale, materials, complexity and edition size. Photographic works are valued according to whether they are vintage prints, later editions, or unique pieces. The rough, immediate quality of Shrigley's line work means that unique drawings carry particular weight as direct expressions of his vision.

Examining medium, signature and provenance

When valuing a work by Shrigley, a specialist begins with the medium and support. Drawings on paper require examination of the paper type, the drawing instrument used, and whether the work shows the characteristic rough line quality associated with his hand. Photographs must be assessed for print type, whether chromogenic, inkjet or another process, and whether the print is vintage or later. Sculptural works demand scrutiny of materials, fabrication quality, and structural integrity. Edition information is critical for prints, photographs and some sculptures. The specialist will verify the edition size, the numbering format, and whether the work is numbered and signed as stated. Signature placement and form matter, as Shrigley's signing practices have evolved over time. Condition assessment covers tears, creases, fading, staining or foxing on works on paper, surface damage or structural issues in sculpture, and fading or discolouration in photographs. Provenance documentation strengthens a valuation significantly. Any exhibition history, gallery labels, certificates of authenticity from recognised dealers, or prior auction records provide context. Works acquired directly from exhibitions or reputable galleries carry more weight than those with unclear origins.

Sales at this auction house

This auction house has offered four works by David Shrigley, of which two sold. The prices realised ranged from 2324 euros to 3376 euros, with a median of 3376 euros. This sample is small, reflecting limited exposure of Shrigley's work through this saleroom to date. The results indicate modest demand within the price range represented by these particular lots. The two works that did not sell suggest that estimates or reserve prices may not have aligned with buyer expectations, or that the specific works did not attract sufficient interest. With only two successful sales, it is not possible to identify clear patterns in buyer preference for particular media, periods or subjects within Shrigley's output at this house. The figures reflect this house's experience only and do not represent the artist's broader market activity. Sellers considering consignment should be aware that the sample size limits the predictive value of these results.

Preparing a valuation request

A seller seeking a valuation should provide comprehensive photographic documentation. Clear, well lit photographs of the front of the work are essential, showing the entire composition without cropping. Photographs of the back or reverse are equally important, as they may reveal labels, stamps, inscriptions or previous framing that inform provenance. Any signature should be photographed in detail, showing its placement, form and medium. If labels from galleries, exhibitions or framers are present, these should be photographed individually and legibly. Precise dimensions are required, given in centimetres or inches, with height preceding width, and depth included for three dimensional works. Any accompanying documentation should be described and copied, including certificates of authenticity, gallery invoices, exhibition catalogues featuring the work, or correspondence with the artist or galleries. Information about how and when the work was acquired strengthens the submission. Condition issues, even minor ones, should be disclosed and photographed. This preparation allows a specialist to provide an informed preliminary assessment and determine whether the work is suitable for consignment.