拍品 131
- 131
DAVID HOCKNEY | Celia I
估價
500,000 - 700,000 USD
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招標截止
描述
- 大衛・霍克尼
- Celia I
- signed, partially titled and dated May 1984 on the reverse
- oil on canvas
- 25 5/8 by 21 1/4 in. 65.1 by 54 cm.
來源
André Emmerich Gallery, New York,
Acquired from the above by the present owner in November 1984
Acquired from the above by the present owner in November 1984
展覽
New York, André Emmerich Gallery, David Hockney, New Work: Paintings, Gouaches, Drawings, Photo Collages, October - November 1984, n.p., illustrated in color
出版
Karen Thomson, Ed., The Blema and H. Arnold Steinberg Collection, Montreal 2015, cat. no. 64, p. 66, illustrated in color
Condition
This work is in very good condition overall. There is light evidence of wear and handling along the edges, including some minor rubbing in the lower right and left corners and hairline craquelure at the pull margins. Under close inspection, scattered minor pinpoint spot accretions are visible along the bottom edge. Under Ultraviolet light inspection, some scattered drip accretions fluoresce brightly but do not appear to be the result of restoration. Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
"Celia has a beautiful face, a very rare face with lots of things in it which appeal to me. It shows aspects of her, like her intuitive knowledge and her kindness, which I think is the greatest virtue. To me she's such a special person." (the artist quoted in Exh. Cat. New Haven, Yale Center for British Art (and traveling), David Hockney: Travels with Pen, Pencil and Ink, 1978, n.p.) Celia I is a delicate and tender portrait of one of David Hockney’s closest and oldest friends, the renowned designer Celia Birtwell. The portrait encapsulates not only the technical mastery of subtle color and form that David Hockney has become so admired for, but also permits us to see one of Hockney’s closest confidants through his own eyes. Celia first met Hockney in Los Angeles in 1964 and is most famously represented in Hockney's large double portrait Mr. and Mrs. Clark and Percy, 1970-1971 (Tate Collection, London), with her husband, Ossie Clark. In a career-long examination of himself, his closest friends and family, and art world personalities, Hockney’s portraits form a crucial element of his practice, integrated into his shifting palette, styles, and modes of production. An intimate portrayal of one of the artist’s most frequent and important sitters, Celia I demonstrates the virtuosity of one of the most prodigious artists of the post-modern period.
It was in the wake of Hockney’s break-up with his long-term partner Peter Schlesinger in 1971 that his relationship with Celia Birtwell intensified. In a series of portraits of Birtwell executed in Paris between 1973 and 1975, Hockney developed a much more delicate and tender drawing style that expressed his sitters through an effeminate veil of pencil and colored crayon. However, it was not until the early 1980s that Birtwell would be central to the artist’s exploratory lithographs that called upon Cubist formalities to illustrate his subjects ‘in the round.’ Hockney’s investigation of the formal intricacies of Cubism reached a crescendo during this period. In Celia I, the influence of Picasso’s portraits of the 1930s is palpable; Birtwell’s captivating, electric blue eyes, weightlessly propped arm, luscious and flowing red locks and charming smile reveal both the artist’s adoration for his subject and the stylistic cues that he supplements from the grand master of Cubism. “Like his hero Picasso, Hockney has returned to portraiture again and again as a forum through which he has explored personality and self-image, interpersonal relationships, sexuality, the joys and optimism of youth and the darker realities of illness, frailty and old age” (Marco Livingstone, "The Private Face of a Public Art" in Exh. Cat., London, National Portrait Gallery (and traveling), David Hockney Portraits, 2006, p. 17).
Hockney’s works of the mid-1980s exhibit an indescribable synthesis of formal experimentation and intuitive execution, combining the artist’s art historical reference points with the candid and sensitive gaze that defines his remarkable freehand portraiture. Birtwell is captured in the present work in an elegant repose, her transfixing stare highlighting the undertones of her glowing visage. Celia I, with its fantastic intensity and luscious coils of brushwork, is an exemplary work of a master portraitist demonstrating his comparable accomplishments to the idols of the genre, and undoubtedly places Hockney on par as one of the most innovative and seminal artists devoted to painting.
It was in the wake of Hockney’s break-up with his long-term partner Peter Schlesinger in 1971 that his relationship with Celia Birtwell intensified. In a series of portraits of Birtwell executed in Paris between 1973 and 1975, Hockney developed a much more delicate and tender drawing style that expressed his sitters through an effeminate veil of pencil and colored crayon. However, it was not until the early 1980s that Birtwell would be central to the artist’s exploratory lithographs that called upon Cubist formalities to illustrate his subjects ‘in the round.’ Hockney’s investigation of the formal intricacies of Cubism reached a crescendo during this period. In Celia I, the influence of Picasso’s portraits of the 1930s is palpable; Birtwell’s captivating, electric blue eyes, weightlessly propped arm, luscious and flowing red locks and charming smile reveal both the artist’s adoration for his subject and the stylistic cues that he supplements from the grand master of Cubism. “Like his hero Picasso, Hockney has returned to portraiture again and again as a forum through which he has explored personality and self-image, interpersonal relationships, sexuality, the joys and optimism of youth and the darker realities of illness, frailty and old age” (Marco Livingstone, "The Private Face of a Public Art" in Exh. Cat., London, National Portrait Gallery (and traveling), David Hockney Portraits, 2006, p. 17).
Hockney’s works of the mid-1980s exhibit an indescribable synthesis of formal experimentation and intuitive execution, combining the artist’s art historical reference points with the candid and sensitive gaze that defines his remarkable freehand portraiture. Birtwell is captured in the present work in an elegant repose, her transfixing stare highlighting the undertones of her glowing visage. Celia I, with its fantastic intensity and luscious coils of brushwork, is an exemplary work of a master portraitist demonstrating his comparable accomplishments to the idols of the genre, and undoubtedly places Hockney on par as one of the most innovative and seminal artists devoted to painting.