Celia Seated In An Office Chair
Celia Seated In An Office Chair
Signed Print
David Hockney
£7,500-£11,000
$15,000-$22,000 Value Indicator
$13,500-$20,000 Value Indicator
¥70,000-¥100,000 Value Indicator
€9,000-€13,500 Value Indicator
$70,000-$110,000 Value Indicator
¥1,470,000-¥2,160,000 Value Indicator
$9,500-$14,000 Value Indicator
AAGR (5 years) 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: Intaglio
Edition size: 60
Year: 1974
Size: H 90cm x W 75cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2024 | Nosbüsch & Stucke | Germany | |||
| September 2024 | Freeman's | United States | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| April 2023 | Phillips New York | United States | |||
| January 2023 | Sotheby's Online | United Kingdom | |||
| September 2022 | Leslie Hindman Auctioneers, Chicago | United States |
Meaning & Analysis
Celia Seated In An Office Chair was published as a signed intaglio in an edition of 60 in 1974. This detailed portrait of Celia Birtwell is one of many Hockney has produced over the course of his long career.
This print portrays the designer on a classic swivel chair. She appears to be making a concerted effort to sit up straight and appears ill at ease in this position. Her face and body are slightly turned away from us, her features partly concealed by her shaggy curls.
As with many other of Hockney’s portraits of Birtwell, her style takes centre stage. The artist pays close attention to her garments, representing cut, patterns and accessories beautifully, perhaps in a bid to convey the sitter’s own gift for fashion. The soft tones of brown, black and red of her figure are set against the stark contrast of the turquoise chair as well as the paleness of her skin and the white of her blouse.
Many of Hockney's prints of Birtwell are lithographs but here we see him returning to the intaglio technique to achieve a more sketchy style, proving his ability to work across the various mediums of printmaking, and his constant desire for experimentation in his work. Portraits of Celia can be found in many of Hockney’s later print series including Moving Focus and the Gemini G.E.L. 1979 Portfolio, and she continues to be his muse even today; fresh portraits of her appeared in his 2016 show at the Royal Academy, entitled 82 Portraits and 1 Still-Life.
