£3,600-£5,500 Value Indicator
$7,000-$10,500 Value Indicator
$6,000-$9,000 Value Indicator
¥30,000-¥50,000 Value Indicator
€4,150-€6,500 Value Indicator
$35,000-$50,000 Value Indicator
¥650,000-¥1,000,000 Value Indicator
$4,400-$6,500 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
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Signed Print Edition of 25
H 15cm x W 14cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|March 2023||Sotheby's London - United Kingdom||Bella Second Version - Signed Print|
|June 2021||Bonhams New Bond Street - United Kingdom||Bella Second Version - Signed Print|
|March 2019||Christie's London - United Kingdom||Bella Second Version - Signed Print|
|October 2018||Sotheby's New York - United States||Bella Second Version - Signed Print|
|October 2014||Christie's New York - United States||Bella Second Version - Signed Print|
|November 2012||Bonhams New Bond Street - United Kingdom||Bella Second Version - Signed Print|
This sketchily rendered etching was created by Lucian Freud in 1982, and depicts the artist's daughter, Bella, when she was 21-years-old. From the bottom right corner of the composition, Bella's head leans into the centre of the work. Her face is framed by thick black lines of ink, contrasting the delicate lines which delineate the cushion she rests on, and her relaxed clothing. Though her face is heavily hatched to mimic the natural effects of lighting on her skin, her features are rather obscure, as though this might have been an initial or preparatory study of Bella.
For Freud's 14 acknowledged children, sitting to be painted, drawn or etched by their father fostered an intense and unusual connection between them. Bella Freud, one of two daughters fathered by Freud with Bernardine Coverley, was one of the artist's children that returned to model for him throughout his career. Unlike etchings like Bella In Her Pluto Shirt and Bella, Bella's portrait here is less thoroughly conceived. The nature of the print gives us a glimpse into Freud's unique etching process, as we can see clearly how he builds form, tone, and texture using only the etching needle and black ink.
As is usually the case with Freud's depictions of his family, primary focus in the composition is on Bella's face, with the hatching around her neck ending at the button on her shirt. At the very bottom of the composition, Freud started to model Bella's hand, which is cropped out of the frame. The work has a tranquil appeal, revealing an intimate moment between Bella and her father behind the etching plate.