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This original lithograph is hand signed in green pencil by the artist “Hockney” in the lower right margin. It is also dated “79” (1979) in pencil.
It is hand numbered and inscribed in green pencil AP XVI next to the signature. It is one of sixteen artists proofs aside from the standard edition of 100 numbered with Arabic numerals.
It was printed and published at Gemini G.E.L., Los Angeles.
The paper bears the Gemini G.E.L. blindstamp and the Twinrocker watermark.
There is another impression of this work in the collection of the National Gallery of Australia.
Note: Hockney and Celia Birtwell, a fashion designer, met in 1968 in Portobello Road. She soon began to appear in the artist’s work, but particularly in his prints. She sits for 30 portraits, which compose about a quarter of his total printed portrait oeuvre. Many of the Celia portraits recall those made by Matisse and Degas.
Celia Birtwell said: “We have always felt completely comfortable in each other’s company. We amused each other. I found posing for him to be a very intimate, and silent, affair…Before commencing we have a conversation about how he wants me to look. I could look left or right. He may say, ‘Move your arm.’ ‘Sit further back.’ ‘Look out of the window.’ then comes the moment when he suddenly says, ‘I like that.’ whilst he’s drawing me I can see the intensity, struggle and concentration on his face. The intensity is extraordinary. After an hour or so he’ll say, ‘do you want to take a break, luvvie?’ Sometimes I take a peek at the portrait, other times I prefer to wait until it’s finished. He always says he doesn’t appeal to vanity. Whatever my feelings are, they are always amazing.”
Provenance:
Gemini G.E.L., Los Angeles
Acquired directly from the publisher.
Private Collection, California, United States of America.
Literature: David Hockney prints 1954-77, Petersburg Press for the Midland Art Group and the Scottish Arts Council, 1979
Reference: Scottish Art Council G. 837
Condition: Excellent condition.
