Celia Reclining
Celia Reclining
Signed Print
David Hockney
£3,450-£5,000
$7,000-$10,000 Value Indicator
$6,000-$9,000 Value Indicator
¥30,000-¥45,000 Value Indicator
€4,200-€6,000 Value Indicator
$35,000-$50,000 Value Indicator
¥670,000-¥970,000 Value Indicator
$4,400-$6,500 Value Indicator
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: 100
Year: 1979
Size: H 58cm x W 55cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2024 | Bonhams Los Angeles | United States | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| September 2023 | Phillips New York | United States | |||
| March 2023 | A.N. Abell Auction Company | United States | |||
| March 2022 | Sotheby's Online | United Kingdom | |||
| March 2021 | Sotheby's Online | United Kingdom | |||
| December 2020 | Forum Auctions London | United Kingdom |
Meaning & Analysis
In contrast to Hockney’s other portraits of Celia Birtwell in the Gemini G.E.L 1979 Portfolio, Celia Reclining feels closer to a quick sketch than a lithograph. While Celia Elegant and Celia Musing show the textile designer in a formal pose, rendered in loose inky brushstrokes, here we are presented with a more intimate portrayal of Hockney’s close friend and muse. Curled up in a chair, Birtwell is shown at rest, one arm pulled back as if stretching or in mid conversation, distracted from the role of the sitter. Her eyes are turned away from us and we feel like we have caught her unawares. While Birtwell's hair and body are made up of faint lines Hockney chooses to change style for her face, adding a depth to her lips that highlights the minimalism of the rest of her body. In this way the work recalls Ann Combing Her Hairfrom the same series where the sitter’s garment is given more attention than her face. This is one of seven portraits of Birtwell in the portfolio and represents Hockney’s fondness for her as both friend and sitter, whom he once described as having “a very rare face with lots of things in it which appeal to me.”
