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Bijou Gets Undressed 2 - Signed Print by Julian Opie 2004 - MyArtBroker

Bijou Gets Undressed 2
Signed Print

Julian Opie

£7,500-£11,500Value Indicator

$15,000-$23,000 Value Indicator

$13,500-$21,000 Value Indicator

¥70,000-¥110,000 Value Indicator

€9,000-€14,000 Value Indicator

$70,000-$110,000 Value Indicator

¥1,420,000-¥2,170,000 Value Indicator

$9,500-$14,500 Value Indicator

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38 x 78cm, Edition of 30, Screenprint

Medium: Screenprint

Edition size: 30

Year: 2004

Size: H 38cm x W 78cm

Signed: Yes

Format: Signed Print

Last Auction: June 2023

Value Trend:

3% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
June 2023
Forum Auctions London
United Kingdom
£8,500
£10,000
£12,600
January 2023
Phillips London
United Kingdom
January 2020
Phillips London
United Kingdom
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Track auction value trend

The value of Julian Opie’s Bijou Gets Undressed 2 (signed) is estimated to be worth between £7,500 and £11,500. This screenprint has shown consistent value growth, with an average annual growth rate of 3%. There have been three sales at auction, since the first sale in January 2020. In the past five years, the hammer price has ranged from £9,000 in January 2023 to £10,000 in June 2023. The average return to the seller is £8,075. The edition size of this artwork is limited to 30.

Created with Highcharts 11.4.8Jan 2020Aug 2020Mar 2021Sep 2021Apr 2022Nov 2022Jun 2023£6,000£7,000£8,000£9,000£10,000£11,000£12,000£13,000© MyArtBroker

Meaning & Analysis

Dynamic in its sequential composition, Bijou Gets Undressed 2 utilises gestures and iconography typical of a strip show to create an image of a predetermined ‘type’, whilst also maintaining a sense of realism through movement. In using clear-cut outlines to depict the figure and a blank circle as her head, Opie anonymises the model, working to further emphasise this idea of the woman as ‘type’.

Never erasing the personality of his models, Opie highlights the particularities of an individual through the reduction of frivolous details and a focus on pose. At the same time, there is a utilitarian quality to Opie’s visual language through his use of simplified shape and form that create a system of signs. Opie cleverly confronts the viewer to think about how we perceive images of people and how we might relate to them by presenting them as familiar signs.