LONDON – Sue Tilley was just another face in the crowd, working at an unemployment office, when she crossed paths with the renowned artist Lucian Freud. Little did she know, the portraits he created of her in the 1990s would become iconic pieces in modern art history.
One of these masterpieces, titled “Sleeping by the Lion Carpet,” is set to go under the hammer at Sotheby’s on June 24. Experts estimate it could sell for between 25 million pounds and 35 million pounds (around $33 million to $47 million).
Despite the staggering amounts that her portraits have fetched, Tilley hasn’t seen any of that money. However, she remains thankful for the experience. “It did change my life,” she shared with The Associated Press while admiring a 7 ½-foot (2.3-meter) rendition of herself in the auction house. “Who would have thought I’d be in Sotheby’s?”
Painted in 1996, “Sleeping by the Lion Carpet” is the final installment of Freud’s four substantial portraits of Tilley, where she is depicted reclining or resting. An earlier work, “Benefits Supervisor Sleeping,” made headlines when it sold for $33.6 million in 2008, setting a record for a living artist at that time.
The 69-year-old Tilley expressed her joy about being featured in “The Guinness Book of Records,” even though her name wasn’t mentioned, just the title “Benefits Supervisor.” “I was still thrilled that it was there,” she remarked with a hearty laugh.
Freud, who was the grandson of psychoanalyst Sigmund Freud, gained fame for his raw and expressive portrayal of nudes, often focusing on friends, family, and himself. His technique involved layering oils to vividly depict the skin tones of his subjects. His artistic legacy grew even after his passing in 2011 at the age of 88, solidifying his status as the preeminent British portrait painter of the 20th century.
Notably, Tilley’s image is not just a mere subject of scrutiny; it has a profound significance within the art world. Another of her portraits, “Benefits Supervisor Resting,” fetched an impressive $56.2 million at auction in 2015, and in 2022, Freud’s “Large Interior, W11” sold for an astonishing $86 million.
Tilley first met Freud through her friend Leigh Bowery, a notable Australian performance artist. She fondly recalls her visits to Freud’s studio, which were filled with laughter, endless cups of tea, and stories from the past. Each portrait required months of meticulous work, and Tilley described “Sleeping by the Lion Carpet” as the most comfortable session since she was seated upright.
Freud was known for his intimate approach to painting, capturing the essence of his subjects without reservation. Tilley has never felt uncomfortable with this exposure, stating, “I’m not really vain. Sometimes I get up in the morning and look at my legs and think, ‘Oh, they look just like that painting.’”
She appreciated the chaotic and lively atmosphere of Freud’s studio, where paint was splattered everywhere and he would make drinks using a paintbrush. “I’d go home and there’d be bits of paint all over me,” she recalled with a smile.
Tilley was part of a vibrant London art scene during the 1980s and ’90s, surrounded by creative figures like Bowery, who ran the avant-garde Taboo nightclub. She enjoyed hearing Freud’s stories from his younger days, filled with celebrity encounters and mischief.
As “Sleeping by the Lion Carpet” prepares to enter the auction world, Tilley expresses no concern about it landing in the hands of the ultra-wealthy. The previous portrait, “Benefits Supervisor Sleeping,” was purchased by Roman Abramovich, a notable figure who faced sanctions following geopolitical events.
The upcoming auction features not just Freud’s work but also pieces from other renowned artists like Henri Matisse and Gustav Klimt, with a total value exceeding 150 million pounds ($201 million). There’s a strong possibility that “Sleeping by the Lion Carpet” could break records, as Oliver Barker, chairman of Sotheby’s Europe, describes it as Freud’s “magnum opus.”
Tilley, now retired and living on the south coast of England, reflects fondly on her time with Freud. “He gave me a couple of etchings, and then I sold them because I’d rather have the money and I went on holiday,” she shared. She holds no regrets about not receiving one of the paintings, knowing her place in art history is firmly established.
“When I was younger, I read art books constantly about the Pre-Raphaelites and the Impressionists, learning about their interconnectedness. Now, I’ve realized I’m part of that narrative, and that’s incredibly thrilling for me,” she concluded, reflecting on her extraordinary journey in the world of art.
