Antonia
Antonia
Signed Print
Julian Opie
£6,500-£10,000
$12,500-$20,000 Value Indicator
$11,500-$18,000 Value Indicator
¥60,000-¥90,000 Value Indicator
€8,000-€12,000 Value Indicator
$60,000-$100,000 Value Indicator
¥1,280,000-¥1,970,000 Value Indicator
$8,500-$12,500 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Digital Print
Edition size: 40
Year: 2011
Size: H 127cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2023 | Phillips London - United Kingdom | Antonia - Signed Print | |||
| September 2022 | Phillips London - United Kingdom | Antonia - Signed Print | |||
| April 2022 | Phillips New York - United States | Antonia - Signed Print | |||
| June 2021 | Hampel Fine Art Auctions - Germany | Antonia - Signed Print |
Meaning & Analysis
Antonia is a print by Julian Opie from 2011 that shows a three-quarter length portrait of a woman leaning against a pillar and wearing a black formal dress. The woman is rendered anonymous by her featureless face that consists of a blank circle floating above her shoulders, but through Opie’s attention to detail in clothing, accessories, and hairstyle, the figure is unique.
Opie produces this print with simplified form, bright block colours and thick, bold outlines creating a portrait in its most basic mode. However, Opie makes the point that there is more to this print than first assumed: ‘Some people often talk about my portraiture being pared-down but I don’t quite see it that way. I see it as starting from a point of view saying, ‘I’d like to make something, I’d like to mark my presence, I’d like to communicate what it feels like to look at things.’
The figure’s featureless face that Opie depicts works as a blank reflection whereby when the viewer looks at this representation of the human form they think of themselves and how they relate to it. Opie’s depersonalised style creates an ambiguous sense of subjectivity in the sitter that is extremely effective.