Elena and Cressie Get Ready for the Party 3
Elena and Cressie Get Ready for the Party 3
Signed Print
Julian Opie
£2,000-£3,000
$3,900-$6,000 Value Indicator
$3,450-$5,000 Value Indicator
¥18,000-¥28,000 Value Indicator
€2,350-€3,500 Value Indicator
$20,000-$30,000 Value Indicator
¥380,000-¥570,000 Value Indicator
$2,550-$3,850 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: Screenprint
Edition size: 30
Year: 2011
Size: H 78cm x W 62cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Phillips London - United Kingdom | Elena and Cressie Get Ready for the Party 3 - Signed Print | |||
| August 2020 | Bonhams Online - United Kingdom | Elena and Cressie Get Ready for the Party 3 - Signed Print | |||
| May 2020 | Bonhams Los Angeles - United States | Elena and Cressie Get Ready for the Party 3 - Signed Print |
Meaning & Analysis
Elena And Cressie Get Ready For The Party 3 is a print from Julian Opie’s 2011 Elena And Cressie Get Ready For The Party series. This print is a close-up portrait of a young woman, drastically cropped so as to show only her facial features as she looks up to the left-hand corner. The sitter’s gaze reaches beyond the image frame but has an emptiness to it that distances the viewer from the subject.
Stemming from his interest in the human form and studying the figure in full length, from the 1990s Opie began to focus more closely on the heads of his models. Elena And Cressie Get Ready For The Party 3 is dynamic in its dramatically cropped composition that works to focus the viewer’s gaze on the sitter’s eyes. Depicted in his late graphic style, Opie has incorporated a great level of detail in his rendering of the subject’s eyes, thus setting this portrait apart from much of the artist’s earlier works.
Although Opie works from photographs of real people, the viewer is aware of the abstract, computer-generated element of the image that spurs a sense of the unfamiliar. The sitter is startling in her uncanny appearance and is presented like an image one might find in a comic book or animation programme.
