Felicite Sleeping, With Parrot
Felicite Sleeping, With Parrot
Signed Print
David Hockney
£2,900-£4,300Value Indicator
$6,000-$9,000 Value Indicator
$5,500-$8,000 Value Indicator
¥27,000-¥40,000 Value Indicator
€3,350-€4,950 Value Indicator
$29,000-$45,000 Value Indicator
¥540,000-¥800,000 Value Indicator
$3,750-$5,500 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: 100
Year: 1974
Size: H 22cm x W 24cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Christie's London | United Kingdom | |||
| November 2023 | Sotheby's Online | United Kingdom | |||
| January 2021 | Hagelstam | Finland | |||
| December 2020 | Karl & Faber | Germany | |||
| March 2020 | Ketterer Kunst Hamburg | Germany | |||
| July 2017 | Bonhams Knightsbridge | United Kingdom | |||
| July 2017 | Koller Zurich | Switzerland |
Meaning & Analysis
This signed intaglio by British artist David Hockney is part of the artist’s Portraits collection. Issued in 1974 in an edition of 100, this intaglio is an etching with aquatint printed in colour.
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.
