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Celia Adjusting Her Eyelash - Signed Print by David Hockney 1979 - MyArtBroker

Celia Adjusting Her Eyelash
Signed Print

David Hockney

£2,600-£3,950Value Indicator

$5,000-$8,000 Value Indicator

$4,650-$7,000 Value Indicator

¥24,000-¥35,000 Value Indicator

3,150-4,800 Value Indicator

$26,000-$40,000 Value Indicator

¥490,000-¥750,000 Value Indicator

$3,300-$5,000 Value Indicator

-8% AAGR

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 79cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of David Hockney's Celia Adjusting Her Eyelash (signed) is estimated to be worth between £2,600 and £3,950. This lithograph print, created in 1979, has shown consistent value growth, with an average annual growth rate of 5%. This artwork has an auction history of 10 total sales since its entry to the market in April 2002. In the last 12 months, the hammer price has ranged from £2,214 in April 2021 to £5,310 in May 2021. Over the past five years, the average return to the seller has been £2,703. The edition size of this artwork is limited to 100.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
September 2023Phillips London United Kingdom
October 2022Doyle Auctioneers & Appraisers United States
May 2021Bonhams New York United States
April 2021Sotheby's Paris France
September 2020Sotheby's Online United Kingdom
April 2020Shannon's United States
March 2019Christie's London United Kingdom

Meaning & Analysis

The print is in dialogue with a rich lineage of artists including Henri Matisse and Edgar Degas whose depictions of women link the domestic space to the intimate moments of introspection.

Sitting on a chair in front of the mirror, the central figure of the print is rendered in thin contour that shares stylistic affinity with such 1979 works as Celia Reading and Bill And James II. In each of these prints, Hockney establishes the intimacy of the scene by showing his subjects to be unaware of the painter’s gaze. The down-to-earth realism of the scene reminds the viewer of Hockney’s lifelong interest in photography and, as a stark departure from his colourful, detail-oriented portraits of family and friends, exemplifies the artist’s continued need to diversify his work.

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