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Celia Adjusting Her Eyelash - Signed Print by David Hockney 1979 - MyArtBroker

Celia Adjusting Her Eyelash
Signed Print

David Hockney

£2,200-£3,300Value Indicator

$4,550-$7,000 Value Indicator

$4,050-$6,000 Value Indicator

¥21,000-¥30,000 Value Indicator

€2,600-€3,900 Value Indicator

$23,000-$35,000 Value Indicator

¥430,000-¥640,000 Value Indicator

$2,900-$4,350 Value Indicator

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58 x 79cm, Edition of 100, Lithograph

Medium: Lithograph

Edition size: 100

Year: 1979

Size: H 58cm x W 79cm

Signed: Yes

Format: Signed Print

Last Auction: April 2025

Value Trend:

-3% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
April 2025
Bonhams Los Angeles
United States
N/A
N/A
N/A
September 2023
Phillips London
United Kingdom
October 2022
Doyle Auctioneers & Appraisers
United States
May 2021
Bonhams New York
United States
April 2021
Sotheby's Paris
France
September 2020
Sotheby's Online
United Kingdom
April 2020
Shannon's
United States
MyPortfolio
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Track auction value trend

The value of David Hockney's Celia Adjusting Her Eyelash (signed) is estimated to be worth between £2,200 and £3,300. This lithograph print, created in 1979, has shown consistent value growth since its first sale in April 2002. Over the past 12 months, the average selling price was £1,958, across a total of 1 sale. This artwork has an auction history of 11 total sales. In the last five years, the hammer price has ranged from £1,958 in April 2025 to £5,310 in May 2021, with an average annual growth rate of -3%. The edition size of this artwork is limited to 100.

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Meaning & Analysis

The print is in dialogue with a rich lineage of artists including Henri Matisse and Edgar Degas whose depictions of women link the domestic space to the intimate moments of introspection.

Sitting on a chair in front of the mirror, the central figure of the print is rendered in thin contour that shares stylistic affinity with such 1979 works as Celia Reading and Bill And James II. In each of these prints, Hockney establishes the intimacy of the scene by showing his subjects to be unaware of the painter’s gaze. The down-to-earth realism of the scene reminds the viewer of Hockney’s lifelong interest in photography and, as a stark departure from his colourful, detail-oriented portraits of family and friends, exemplifies the artist’s continued need to diversify his work.

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