Elena And Cressie Get Ready For The Party 5
Elena And Cressie Get Ready For The Party 5
Signed Print
Julian Opie
£2,050-£3,050
$3,850-$5,500 Value Indicator
$3,500-$5,000 Value Indicator
¥18,000-¥26,000 Value Indicator
€2,350-€3,450 Value Indicator
$20,000-$30,000 Value Indicator
¥350,000-¥520,000 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 |
|---|---|---|---|---|---|
| February 2021 | Rago Arts and Auction Center - United States | Elena And Cressie Get Ready For The Party 5 - Signed Print | |||
| January 2019 | Phillips London - United Kingdom | Elena And Cressie Get Ready For The Party 5 - Signed Print | |||
| June 2012 | Koller Zurich - Switzerland | Elena And Cressie Get Ready For The Party 5 - Signed Print |
Meaning & Analysis
Rendered in the artist’s late-graphic style, Elena And Cressie Get Ready For The Party 5 is a print from Julian Opie’s Elena And Cressie Get Ready For The Party series (2011). The print shows a close-up portrait of a young woman with dark hair who looks to the left of the frame into the distance. Mirroring the slick, depersonalised aesthetic of the computer-rendered image, the sitter’s gaze is distant and thus creates a sense of alienation between viewer and subject.
Elena And Cressie Get Ready For The Party 5 is depicted with a high level of detail, retaining tonal contours in the face and hair that give the print a stronger sense of depth than is usual throughout Opie’s oeuvre. At the same time, Opie uses strong graphic lines to outline the figure’s face and features that emphasises the artificiality of the image that toes the line between reality and representation.
Speaking of his development in style Opie has said, ‘The first drawings were very simple, but that gave me a language on which to build. They started as black and white, with very pared-down parameters – the mouth was just a straight line and so on – and bit by bit I adjusted it until it seemed like the right balance between someone real and this generic form.’
