£3,650-£5,500 VALUE (EST.)
$7,000-$10,500 VALUE (EST.)
$6,000-$9,000 VALUE (EST.)
¥35,000-¥50,000 VALUE (EST.)
€4,200-€6,500 VALUE (EST.)
$35,000-$50,000 VALUE (EST.)
¥660,000-¥1,000,000 VALUE (EST.)
$4,450-$6,500 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
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Signed Print Edition of 100
H 22cm x W 24cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|January 2021||Hagelstam - Finland||Felicite Sleeping, With Parrot - Signed Print|
|December 2020||Karl & Faber - Germany||Felicite Sleeping, With Parrot - Signed Print|
|March 2020||Ketterer Kunst Hamburg - Germany||Felicite Sleeping, With Parrot - Signed Print|
|July 2017||Bonhams Knightsbridge - United Kingdom||Felicite Sleeping, With Parrot - Signed Print|
|July 2017||Koller Zurich - Switzerland||Felicite Sleeping, With Parrot - Signed Print|
|December 2015||Uppsala Auktionskammare - Sweden||Felicite Sleeping, With Parrot - Signed Print|
|February 2013||Sotheby's Paris - France||Felicite Sleeping, With Parrot - Signed Print|
Hockney’s subject, Felicite, is executed in black and white, whilst the parrot perched atop her hand is vividly coloured with greens, yellows and reds, a bright contrast to the monochromatic sleeping woman. This etching was inspired by Gustave Flaubert’s A Simple Heart, in which Flaubert writes about the imagined life of a servant girl. In this novella, Madame Aubain inherits a parrot, Loulou, from a friend. But, on finding the bird a nuisance, she gives him to Felicite to care for. It is this narrative that inspired Hockney’s etching. Hockney has the ability to capture the subtleties of his subjects’ expressions. Hockney lends a distinctive energy to each sitter, capturing something innate to their characters, rendered even when his pencil captures them as they sleep.
Hockney claimed he began etching whilst studying at the Royal College: “In actual fact, I started etching there as I hadn’t any money, I hadn’t any paint”. Drawing and printing were to form the basis of his future art. After 1962, Hockney no longer drew self-portraits, but drew those who surrounded him.