A remarkable chapter in the art world unfolded recently as a portrait by the renowned artist Lucian Freud, entitled *Sleeping by the Lion Carpet*, was auctioned for a staggering £25 million. The artwork, which depicts Sue Tilley—a woman from Sussex—has generated not only financial astonishment but also a fascinating narrative about the artist-sitter relationship and the often-overlooked stories behind iconic pieces of art.
A Glimpse into the Artistic Process
Sue Tilley, who sat for the portrait over the course of nine months, has shared vivid recollections of her time in Freud’s studio, located in London’s Holland Park. With a candidness that reveals both charm and authenticity, Tilley described the space as “really shabby,” filled with an eclectic mix of items, including a Rodin sculpture being used as a doorstop. Her sittings, which typically spanned from early morning until mid-afternoon several days a week, often included long, leisurely lunches at local restaurants, complete with champagne.
Reflecting on the experience, Tilley stated, “It was a long process, but I loved it. He had a unique way of capturing the essence of the person he was painting.” This intimate journey culminated in a striking portrayal that Tilley affectionately referred to as showcasing her “glorious naked bigness squashed into a chair with a lion carpet behind me.”
The Auction: A Historic Sale
The anticipation surrounding the sale of this portrait was palpable, with estimates suggesting it could fetch between £25 million and £30 million. Ultimately, the final bid settled at £25 million, leading to a total auction price of £29,260,000 when accounting for the buyer’s premium. The staggering sum is a testament to Freud’s enduring legacy and the increasing value of his work in the contemporary art market.
Despite the monumental sale, Tilley has faced the reality that she has not received a portion of the proceeds from the auction. “I’ve never got actually paid any money from the portrait selling,” she lamented, adding that while she has had various related opportunities, they do not compare to the auction’s immense figure. “Sotheby’s were very generous to me for helping them out, but I have earned money along the way, but nowhere near £25 million.”
The Muse Debate
In discussing her role in Freud’s artistic journey, Tilley adamantly rejected the label of “muse.” “I hate that word because I imagine a very thin little person… wafting around in chiffon dresses, pining for the artist, which wasn’t me, I have to say.” Her assertion brings to light a broader conversation about the often romanticised idea of muses in art, hinting at the complexity of the relationships that exist between artists and their subjects.
Despite her unexpected fame due to the portrait, Tilley’s day-to-day life remains largely unchanged. She describes her existence in St Leonards as “very mundane,” filled with simple pleasures like lounging at home, walking on the beach, and chatting with friends. Yet, she acknowledges the occasional whirlwind of activity that comes with her association with Freud’s work, describing how her life can shift dramatically in sudden bursts of attention.
Art and Its Cultural Context
The auction coincided with an exhibition at Hastings Contemporary, which features works by both Henry Moore and Lucian Freud, including an etching of Tilley herself, *Woman with an Arm Tattoo*. This exhibition runs until 13 September and serves as a reminder of the cultural significance of Freud’s work, as well as the lasting impact of his subjects.
Why it Matters
The sale of *Sleeping by the Lion Carpet* is more than a remarkable financial event; it underscores the complexities of the artist-sitter dynamic and the often-unseen narratives that accompany great works of art. Sue Tilley’s candid reflections challenge the traditionally romanticised notions of artistic relationships and highlight the stark contrasts between art’s commercial value and the personal experiences of those who contribute to its creation. In an era where art often serves as both an investment and a cultural touchstone, Tilley’s story invites us to reconsider the true cost of art and the importance of acknowledging all voices within its narrative.
