Lot 17
  • 17

ELIZABETH PEYTON | Sid Vicious Arrested, Chelsea Hotel

400,000 - 600,000 GBP
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  • Elizabeth Peyton
  • Sid Vicious Arrested, Chelsea Hotel
  • titled and numbered EP 269 on the reverse
  • oil on canvas
  • 101.5 by 76 cm. 40 by 30 in.
  • Executed in 1998.


Sadie Coles HQ, London
Private Collection, London
Acquired from the above by the present owner


London, The Saatchi Gallery, Young Americans 2: New American Art at the Saatchi Gallery, July - December 1998


Colour: The colour in the catalogue illustration is fairly accurate, although the overall tonality is more vibrant: the purple tonalities are stronger and the face is more pink in the original. Condition: Please refer to the department for a professional condition report.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

Catalogue Note

Endowed with a sweet melancholic quality, Sid Vicious Arrested, Chelsea Hotel (1998) by Elizabeth Peyton is a highly dramatised work that re-lives the downward spiral of Sex Pistols icon Sid Vicious, as he is arrested for the murder of his then-girlfriend, Nancy Spungen. In a style akin to Douglas Blau and Richard Prince, Peyton reinterprets an image by photojournalist Allan Tannenbaum and reshapes Vicious in stillness and silence, as he appears enraptured by deep reflective melancholia. Detached from the frenzy and pandemonium, Peyton intimately zooms into Vicious, such that the viewer is compelled to gaze closely at the protagonist. Silencing the paparazzi behind a morose blue backdrop, the viewer only catches a subtle glimpse of the flash bulbs, and a blurred image of Vicious’ captor. In this solitary, almost dream-like moment, all logical elements of the situation are suspended and beauty trumps disenchantment.

By distorting the original photograph, Peyton comments on the superficiality of the photographic image and its ability to distort and exaggerate moments. By diminishing the traditional distance of portraiture, she not only venerates her subjects as saints and icons, but also imbues them with a familiarity that resonates with romantic devotion: one that takes into account both their glories and faults. In the process, she reanimates nineteenth-century traditions of portraiture, which glorified high art, whilst also finding beauty in unifying the subject with expressions of humanity. Peyton explains: “It's almost a nineteenth-century idea that what's on the inside appears on the outside. Balzac was into the curve of your nose or mouth expressing some kind of inner quality that it could be read on your face” (Elizabeth Peyton quoted in: ‘Elizabeth Peyton’, The Index Magazine, 2000, online).

Peyton thus pursues beauty not only through painting distant historical figures like Napoleon, but also by portraying far-from-perfect contemporaries, including Nirvana’s Kurt Cobain and Sid Vicious. She awakens the vulnerability of her subjects, bringing them to life by dramatising their expressions. In this case, Peyton stages the very moment of Vicious’ arrest, emphasising the dark circles under his eyes, as he is further humanised by Peyton’s addition of a teardrop.

Vicious‘ features are idealised: his skin, pale; his lips, red; he is bestowed with androgynous qualities, which in spite of his angst-ridden visage, bestow a sense of youth and innocence. In the process, she casts a feminine gaze over her icon, trumping the archaic system that forces men to appear macho and unfeeling; in a Caravaggio-esque manner Peyton portrays Vicious as a virginal male. As punk and Sex Pistols historian, Jon Savage, adds, “It's all right for disco divas to take off the slap when they get home, but rock stars have to be who they are, offstage and on. This absurd state of affairs crucifies lives and stunts individual and collective growth. Peyton is careful to emphasise male tenderness” (Jon Savage, ‘Boys keep swinging, Elizabeth Peyton’, Frieze, November-December 1996, online).

Rather than diminishing Vicious’ rock star image, Peyton balances illusion with reality, to awaken the inner and hidden qualities of her protagonist. Large-in-scale in comparison to many of the artist’s portraits, Sid Vicious Arrested is a seminal work that democratises portraiture by borrowing from a public photograph and subsequently reimagines it as fiction.