$20,000-$30,000 Value Indicator
$18,000-$27,000 Value Indicator
¥100,000-¥150,000 Value Indicator
€12,500-€19,000 Value Indicator
$100,000-$160,000 Value Indicator
¥1,960,000-¥2,980,000 Value Indicator
$13,500-$20,000 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
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Format: Signed Print
Size: H 97cm x W 76cm
Edition size: 100
David Hockney's 'Celia In A Polka Dot Skirt' is a signed lithograph from 1980, valued between £10,500 and £16,000. This artwork has seen a total of three sales in the UK and US, with the first sale recorded on 31st October 2014. The hammer price in the last five years has remained steady at £7,382, with the most recent sale on 12th September 2019. Sellers have enjoyed an average return of £6,275, and the artwork's value has grown at an average annual rate of 4%. Despite no sales in the past 12 months, the limited edition size of 100 ensures this piece remains a unique investment.
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2019||Phillips London - United Kingdom||Celia In A Polka Dot Skirt - Signed Print|
|April 2016||Sotheby's New York - United States||Celia In A Polka Dot Skirt - Signed Print|
|October 2014||Sotheby's New York - United States||Celia In A Polka Dot Skirt - Signed Print|
As with so many of Hockney’s portraits of his close friend and muse Celia Birtwell, the focus is centred as much on the sitter’s clothes as her expression or likeness. A fashion designer herself, Birtwell obviously paid close attention to her style and it is fascinating to see Hockney reproducing it so faithfully in print. The pair have enjoyed a close relationship for many decades and throughout the whole of Hockney’s oeuvre we can see Celia’s presence, charting the changes in fashion from the 60s to the 2000s as well as the growing intimacy of a relationship and the effects of aging. As with another lithograph from 1980, Celia In An Armchair, here we find Birtwell in a polka dot skirt. This time she has returned to the modernist chair in the style of Celia, 8365 Melrose Avenue, Hollywood and her legs are crossed as she looks away from the artist’s gaze. She also wears a pussybow blouse which gives the scene a little more formality. One arm is folded behind her head and with the other she raises her hand to her face, as if she is pensive. Her black high heels provide a punctum to the image, along with a splash of ink to her right.