Patrick Caulfield Value: Top Prices Paid at Auction

Having boasted a prestigious ownership history, including the revered English icon David Bowie, it's no surprise that Foyer (1973) is Patrick Caulfield's auction record. Foyer portrays an unoccupied interior, exuding a profound sense of solitude and loneliness through the absence of human presence. The vacant space is constructed from cubist, abstract blocks of vibrant colour, brought to life by black lines that meticulously define the room's contours and dimensions. While Foyer exhibits traces of pop art, it maintains a level of sophistication, purity, and tranquility that align with attributes of minimalism.

This work sold for £665,000 (including fees) during the momentous David Bowie collection auction at Sotheby's in November 2016. The association with David Bowie unquestionably adds an extra layer of allure and prestige to the artwork, significantly contributing to its exceptional performance in the art market.

Created in the mid-1960s, during the vibrant era of Pop Art, Sweet Bowl (1966) showcases a departure from the movement's typical focus on consumer culture and commodification. Instead, Patrick Caulfield directs his attention towards formalism through varying shades of blue, demonstrating Caulfield's understanding of colour balance and harmony. The sleek black lines, reminiscent of Keith Haring's signature style, outline a cropped table with a bowl filled with individually coloured sweets.

The popularity of this piece led to the production of an edition of 75 prints, that have made multiple appearances in the secondary market since its initial introduction in 2006. The original painting fetched £524,750 (including fees) at Sotheby's in October 2017, solidfying its position among Caulfield's top-selling works.

In Sun Lounge (1975), Patrick Caulfield's mastery of colour abstraction takes centre stage, highlighting his keen insight into architectural principles and shape construction achieved through a grid-like framework. The detailed use of grid lines sets this period of his work apart from earlier creations in the 1960s. This shift results in a multifaceted portrayal of interior space, complete with commonplace objects such as chairs, lights, tables, footrests, mirrors, and various paraphernalia subtly alludes to human interaction within the room.

This artwork has made two appearances in the secondary market, first in June 2006, realising £512,000 (including fees), and subsequently in November 2011, achieving £505,250 (including fees). These figures establish Sun Lounge as one of Caulfield's most esteemed and sought-after works.

Patrick Caulfield's panoramic View Of The Ruins (1964) draws inspiration from ancient European ruins, skilfully melding remnants of the past into a contemporary canvas. Unlike his Pop Art peers, who often depicted the commodification of American culture, Caulfield's lens is fixed on the poignancy of ruins, allowing him to portray historical echoes through a contemporary lens. This thematic exploration finds another expression in his later screenprint, Ruins (1964), featuring an assemblage of stone bricks set against a vibrant yellow backdrop in an edition of 40.

View Of The Ruins (1964) realised £491,250 (fees included) at Christie's in October 2019.

Forecourt (1975) stands as a testament to Patrick Caulfield's architectural-inspired artistry, showcasing his meticulous attention to detail and opulent design. Through his skilful use of trademark black lines and contrasting blue shades, Caulfield crafts a distant chamber behind a predominantly blush façade, accentuated by vibrant green flower beds in the foreground. The strategic interplay of colours creates a mesmerising three-dimensional illusion, inviting viewers on a visual journey from the foreground into the distant room. This effect intriguingly immerses viewers into the artwork, metaphorically compensating for the absence of human presence within the scene.

This period of work, characterised by intricate design is among Caulfield's top performing. Forecourt, fetched £446,500 (fees included) at Sotheby's in December 2013.

Les Demoiselles d'Avignon vues de derrière (2000) was crafted during the latter part of Patrick Caulfield's career, paying homage to Pablo Picasso's iconic portrayal of Spanish prostitutes. Caulfield's creation not only reflects his wit but also demonstrates his profound knowledge of art history and diverse artistic eras. In a humorous twist, he presents the women from a rear perspective, contrasting with Picasso's frontal view, playfully incorporating “Derrière,’’ the French term for “rear end,’’ into the title. Without incorporating commercial objects, Caulfield ingeniously transforms Picasso's painting into a commodified object in itself.

This ambitious work marks a departure from Caulfield's customary use of overlaying black lines. Instead, he adeptly employs colour and abstraction to sculpt the women's bodies, achieving a striking cutout effect. Produced as a screenprinted edition of 65, this piece enjoys popularity in the art market. In June 2007, the original painting achieved a significant sale price of £412,000 (including fees) at Sotheby's.

In a landscape format, Santa Margherita Ligure (1964) draws inspiration from a postcard, transforming a widely reproduced photographic image into a highly stylised composition. Patrick Caulfield purposefully engages with the inherent “artifice’’ of the work, aligning it with the everyday banality often associated with Pop Art. Notable artistic additions are evident in the framing border, where Caulfield deliberately truncates the upper left corner of the painting and introduces a drop shadow around the scenic view, resulting in a visually captivating depth.

This artwork serves as a testament to Patrick Caulfield's early artistic explorations during his formative years. Its significance is emphasised by its inclusion in The New Generation: 1964 exhibition at the Whitechapel Gallery, where it was exhibited alongside emerging British artists, including David Hockney and Bridget Riley.

Initially sold at Sotheby's in December 1984, Santa Margherita Ligure reemerged in the market in July 2007, realising £400,800 (fees included). This resale reaffirms the enduring appeal and market value of Caulfield's artistic contributions.

Corner Of The Studio (1964) emerged from the artistic experimentation of the 1960s, a period defined by panoramic landscape format, often inspired from postcard scenes. This artwork focuses on a solitary object: a red freestanding furnace set against a vibrant blue backdrop, accented by abstracted black and red triangles. This intentional composition magnifies the everyday object's mundane nature, encouraging viewers to reconsider their perception of the familiar and inviting a fresh evaluation of its significance.

The significant sale of Corner Of The Studio at £375,000 (fees included) at Christie's London in October 2021 reaffirms the recognition of Caulfield's artistic versatility and his ability to explore the ordinary within the realm of fine art.

Boats at Brindisi (1966), also an early work, presents a cropped image of the coastal shoreline and two boats, effortlessly transporting viewers to an idyllic moment in time and place—a leisurely and sun-drenched afternoon by the Mediterranean Sea in Brindisi, as indicated by the title. Caulfield's ability to present images in an evidently and deliberately fictionalised manner resonates with audiences, much like the compelling allure of the commercial and banal aspects of pop art. Despite his disavowal of direct association with any particular movement, Caulfield's undeniable contribution to shaping and influencing various artistic periods remains evident.

Boats at Brindisi surfaced in the secondary market twice, both at Christie's: first in November 2005, realising £366,400 (fees included), resurfacing in November 2013, commanding £386,500 (fees included) attesting to the enduring market value and appreciation for Caulfield's work.

Springtime: Face à la mer (1974) exemplifies Patrick Caulfield's exploratory phase, showcasing his penchant for presenting lavishly adorned architectural spaces largely dominated by a single, carefully selected colour that contrasts with others to create an illusion of spatial depth. Departing from his usual portrayal of interior spaces during this period, this artwork offers a unique perspective by revealing the exterior view of a building. In contrast to some of Caulfield's Pop Art contemporaries, who often focused on American consumerism, Caulfield often directed his attention toward European landscapes and interiors.

Springtime: Face à la mer realised £344,000 (fees included) at Christie's in November 2006, firmly establishing its position among Caulfield's top-selling works.