Celia In A Wicker Chair (black state)
Celia In A Wicker Chair (black state)
Signed Print
David Hockney
£13,500-£20,000Value
Indicator
$26,000-$40,000 Value Indicator
$23,000-$35,000 Value Indicator
¥120,000-¥180,000 Value Indicator
€16,000-€23,000 Value Indicator
$130,000-$200,000 Value Indicator
¥2,510,000-¥3,730,000 Value Indicator
$17,000-$25,000 Value Indicator
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: Etching
Format: Signed Print
Year: 1974
Size: H 67cm x W 54cm
Edition size: 20
Signed: Yes
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David Hockney's Celia In A Wicker Chair (black state), an etching from 1974, is a signed piece of artwork that is estimated to be worth between £13,500 to £20,000. This piece has had a total of 3 sales at auction, all in the United States, with the first sale dating back to 24th April 2015. The hammer price in the last five years has ranged from £10,791 in October 2023 to £12,670 in September 2022. Sellers have enjoyed an average return of £9,971, and the artwork has demonstrated a robust increase in value, with an average annual growth rate of 24%. In the last 12 months, the average selling price was £10,791 with a total sales volume of 1. This artwork's edition size is limited to just 20, adding to its exclusivity.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2023 | Sotheby's New York - United States | Celia In A Wicker Chair (black state) - Signed Print | |||
| September 2022 | Leslie Hindman Auctioneers, Chicago - United States | Celia In A Wicker Chair (black state) - Signed Print | |||
| April 2015 | Christie's New York - United States | Celia In A Wicker Chair (black state) - Signed Print |
Meaning & Analysis
Celia In A Wicker Chair (black state) is a signed etching by David Hockney depicting his lifelong friend Celia Birtwell who came to prominence in the 1960s London as a textile and fashion designer.
Unlike the late 1970s lithographs emphasising the meditative atmosphere surrounding the model, this 1974 print captures Celia in a seated, full-length pose, boldly confronting the viewer’s gaze. Covering the chair with short, densely accumulated lines, Hockney endows the only object in the print with a sense of texture while also exposing the vibrant floral print of the model’s dress, the epitome of bold designs associated with Celia Birtwell’s name in the world of fashion.
This portrait, combining the minimalism of the scene with a meticulous approach to detail enabled by etching, is not typical of the way in which Hockney represented Celia Birtwell in his works. Throughout his career, the model has been a subject to Hockney’s experiments with techniques, styles, and traditions including cubism and abstract art.
Here, a uniform, crisp line of etching renders the subject in a highly realistic manner. Through the fine quality of line achieved in the medium, Hockney forges a dialogue with the great practitioners of etching in the history of art, such as Rembrandt. The print exemplifies how Hockney’s favourite models were constantly rediscovered by him in different techniques and mediums.
Speaking of his fascination with Rembrandt’s work, Hockney has said: ‘You need three things for paintings: the hand, the eye and the heart… Two won’t do. A good eye and heart is not enough, neither is a good hand and eye. It applies to every painting and drawing Rembrandt ever made.’ As Hockney drew people who were close to him over a long period of time, his body of work allows the viewer to trace the evolution of his visual language as well as the many dimensions of the sitters’ emotions and feelings.
