In a remarkable turn of events at Sotheby’s, a striking portrait by renowned artist Lucian Freud, featuring Sussex resident Sue Tilley, fetched an astonishing £25 million at auction. Titled *Sleeping by the Lion Carpet*, the artwork not only secured a staggering sale price of £29,260,000—including buyer’s premium—but also reignited discussions around the relationship between artist and subject, as well as the often-overlooked narratives of those who sit for such iconic figures.
A Unique Artistic Collaboration
Sue Tilley, who spent nearly nine months in Freud’s London studio, described the experience as both intimate and unconventional. With sittings spanning several days a week, Tilley recalls long hours that were occasionally punctuated by lavish lunches featuring champagne. “The studio was really shabby,” she remarked, revealing a space cluttered with what she referred to as “all sorts of rubbish” and even a Rodin sculpture repurposed as a doorstop.
The portrait itself, which showcases Tilley in what she describes as her “glorious naked bigness squashed into a chair with a lion carpet behind me,” reflects Freud’s distinctive style—a blend of realism and emotional depth that has captivated audiences worldwide.
The Price of Fame
Despite the monumental price tag associated with the sale, Tilley’s financial gain from the painting has been far less lucrative than one might assume. “I’ve never got actually paid any money from the portrait selling,” she lamented, although she has received small jobs and generous support from Sotheby’s for her efforts. The disparity between the auction price and Tilley’s earnings raises critical questions about the business of art and the often unbalanced rewards for those who contribute to its creation.
Tilley expressed her disdain for the term “muse,” noting that it conjures images of a delicate figure lost in adoration of the artist—a description she finds ill-fitting for her reality. “I hate that word,” she stated emphatically. “I have to say, I was not that.”
Life After the Canvas
Interestingly, Tilley’s life in St Leonards-on-Sea remains largely unchanged despite the global recognition of her likeness. She describes her daily routine as “very mundane,” filled with the simple pleasures of life by the sea—watching television, lounging on the beach, and enjoying conversations with friends. Yet, every so often, the extraordinary interrupts her routine, such as the recent auction, which thrust her back into the spotlight.
As the art world buzzes with the implications of such a sale, Tilley finds herself grappling with the complex emotions tied to her role in the narrative. The sale of *Sleeping by the Lion Carpet* coincided with Hastings Contemporary’s new exhibition, featuring another work by Freud that depicts Tilley, further intertwining her identity with the legacy of the artist.
Why it Matters
The extraordinary auction of Freud’s portrait not only highlights the staggering financial values associated with contemporary art but also casts a spotlight on the often-overlooked stories of the individuals behind the canvas. Tilley’s experience serves as a poignant reminder of the complexities inherent in the artist-sitter relationship, prompting us to reflect on the broader implications of fame, recognition, and the true worth of artistic collaboration. As the art world continues to evolve, Tilley’s journey underscores the importance of acknowledging the voices that contribute to the creation of iconic works—reminding us that behind every great piece of art lies a multifaceted human story.
