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Celia
Birtwell

While David Hockney is perhaps best known for portraits of his male friends and lovers, he also dedicated a significant part of his oeuvre to painting, drawing, and making prints of his long-term female friend Celia Birtwell. This collection gathers portraits of Celia translated from, and printed in, a range of media.

David Hockney Celia Birtwell For sale

Celia Birtwell Value (5 Years)

Works from the Celia Birtwell series by David Hockney have a strong market value presence, with 210 auction appearances. Top performing works have achieved standout auction results, with peak hammer prices of £148840. Over the past 12 months, average values across the series have ranged from £312 to £148840. The series shows an average annual growth rate of 0.12%.

Celia Birtwell Market value

Annual Sales

Auction Results

ArtworkAuction
Date
Auction
House
Return to
Seller
Hammer
Price
Buyer
Paid
15 Oct 2025
Rago
£10,625
£12,500
£17,000
11 Sept 2025
Galerie Kornfeld
£4,675
£5,500
£7,000
9 Jul 2025
Forum Auctions London
£4,250
£5,000
£6,500
24 Jun 2025
Phillips New York
£4,675
£5,500
£7,500
22 May 2025
Bonhams New York
£10,200
£12,000
£15,000
7 May 2025
Freeman's
£5,950
£7,000
£9,500
16 Apr 2025
Christie's New York
£7,650
£9,000
£12,500
8 Apr 2025
Bonhams Los Angeles
£1,658
£1,950
£2,500

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Meaning & Analysis

Long time friend and recurring muse Celia Birtwell has been captured in this series of portraits by Hockney across various mediums.

Long time friend and recurring muse Celia Birtwell has been captured in this series of portraits by Hockney across various mediums. One of the most iconic textile designers in British fashion history Celia rose to fame alongside Hockney in the ’60s and ’70s when her bright colourful prints were highly in demand from fashion designers. Most famously Hockney painted Celia’s portrait with her husband, and fellow designer, Ossie Clark and their pet cat in 1971 in what is probably Hockney’s most famous double portrait,Mr and Mrs Clark and Percy.

As well as appearing in the 1976 Friends portfolio, Birtwell features heavily in the 1979 Gemini series. Throughout she is shown in various poses, often seated, often reclining, sometimes at her toilet, and other times she is pensive, seeming too preoccupied to notice the artist. Often these works tend to reference artists such as Matisse, Degas and Toulouse Lautrec, as if Hockney required the subject of a woman – the traditional gender for a muse – in order to directly converse with these masters. Speaking of his love for the designer as both friend and subject Hockney has said, “Celia has a beautiful face, a very rare face with lots of things in it which appeal to me. It shows aspects of her, like her intuitive knowledge and her kindness, which I think is the greatest virtue. To me she’s such a special person.”

By looking at the Celia prints as a group we are able to track the evolution of Hockney’s style, from the 1969 etching and aquatint, entitled simply Celia, in which she sits side on, her pregnant belly evident under a flowery gown, to the 1973 lithograph Celia Smoking. With works such as Celia in A Wicker Chair we see Hockney experimenting with colour in etching while works such as Big Celia see Hockney pushing the boundaries of lithography to create a monumental print in a painterly style that once again recalls Matisse.

10 Facts About Hockney’s Celia Birtwell

A lithograph of Celia Birtwell seated in an armchair, her patterned dress and relaxed pose capturing Hockney’s calm, intimate style.

Celia In An Armchair © David Hockney 1980

1. Celia Birtwell is David Hockney’s most frequently depicted portrait sitter

Hockney returned to Celia more than to any other sitter in his prints because he knew her well and trusted the working relationship. This closeness allowed him to look more closely and take technical risks without losing the integrity of the likeness. The detailed shifts from settings and props to small changes in posture, hairstyle, gaze and mood reveal the intimacy of their connection.

A group portrait collage showing Celia Birtwell among friends and pets in a domestic London setting, layered with photographic energy.

George, Blanche, Celia, Albert And Percy, London, January © David Hockney 1983

2. Mr and Mrs Clark and Percy established Birtwell as a landmark image in British art

The 1971 double portrait Mr and Mrs Clark and Percy shows Celia with her husband, Ossie Clark, and made her widely recognisable beyond the fashion world. The details Hockney studied in that painting, such as the light in her hair, the fall of patterned fabric, their unflinching gaze, reappear throughout his portraits of Celia - linking the seminal painting to the prints in a continuous visual language.

A bold, reworked lithograph of Celia Birtwell combining abstracted shapes and layered colours to suggest shifting viewpoints.

An Image Of Celia (State II) © David Hockney 1986

3. The Celia series records Hockney’s transition from etching to lithography

Hockney’s early portraits of Celia tended to be etchings, but by the mid-1970s his prints began to test colour, so that by the late 1970s and 1980s his lithography displayed more painterly gestures. Despite these developing techniques, Celia remains the fixed point against which change is measured. By keeping the sitter constant, Hockney showcases how the process can alter mood, clarity and intimacy of a portrait.

A delicate lithograph of Celia Birtwell in profile, quietly smoking, rendered with soft tonal lines that convey introspection.

Celia Smoking © David Hockney 1973