Big Celia Print #2
Big Celia Print #2
Signed Print
David Hockney
£17,000-£26,000
$35,000-$50,000 Value Indicator
$30,000-$45,000 Value Indicator
¥160,000-¥240,000 Value Indicator
€20,000-€30,000 Value Indicator
$170,000-$260,000 Value Indicator
¥3,430,000-¥5,240,000 Value Indicator
$22,000-$35,000 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: 1981
Size: H 133cm x W 146cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2023 | Christie's New York - United States | Big Celia Print #2 - Signed Print | |||
| June 2021 | Wright - United States | Big Celia Print #2 - Signed Print | |||
| June 2021 | Wright - United States | Big Celia Print #2 - Signed Print | |||
| March 2020 | A.N. Abell Auction Company - United States | Big Celia Print #2 - Signed Print | |||
| December 2019 | Forum Auctions London - United Kingdom | Big Celia Print #2 - Signed Print | |||
| May 2019 | Bonhams New York - United States | Big Celia Print #2 - Signed Print | |||
| October 2016 | Phillips New York - United States | Big Celia Print #2 - Signed Print |
Meaning & Analysis
Similarly to Celia Musing from the Gemini G.E.L 1979 portfolio, Big Celia Print #2 shows Hockney’s close friend and muse Celia Birtwell depicted in an inky black style with thick brush marks that offer a stark contrast to some of the more subtle tones of the 1976 portfolio, also done in collaboration with Gemini. However this work is different in that it has been ‘blown up’ to a larger scale, measuring 133cm x 146cm so that Birtwell, shown reclining on some cushions, towers over the viewer. She is dressed in a skirt and stripy top and her features are easily recognisable though economically drawn. In this the work recalls Matisse’s portraits of women in which just a few lines are enough to denote the eyes, lips and nose. The artist is looking down on his model from above, and she seems unaware of his gaze as she looks to the left. 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.”
