Mirjam
Mirjam
Signed Print
Julian Opie
£10,500-£16,000Value
Indicator
$20,000-$30,000 Value Indicator
$18,000-$27,000 Value Indicator
¥90,000-¥140,000 Value Indicator
€12,500-€19,000 Value Indicator
$100,000-$160,000 Value Indicator
¥1,950,000-¥2,970,000 Value Indicator
$13,000-$20,000 Value Indicator
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
Format: Signed Print
Year: 2011
Size: H 118cm x W 81cm
Edition size: 40
Signed: Yes
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Track auction value trend
Julian Opie's "Mirjam" (signed), a digital print from 2011, is estimated to be worth between £10,500 to £16,000. This artwork has had a total of 2 sales at auction since its first sale on 27th September 2016. The edition size of this artwork is limited to 40.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2017 | Forum Auctions London - United Kingdom | Mirjam - Signed Print | |||
| September 2016 | Sotheby's Online - United Kingdom | Mirjam - Signed Print |
Meaning & Analysis
Miriam is a print by Julian Opie from 2011 that shows a three-quarter length portrait of a pregnant woman holding an apple in her left hand, wearing a blue dress and brown shawl. The woman is rendered anonymous by her featureless face that consists of a blank circle floating above her shoulders, but through Opie’s use of colour the viewer may see this image through religious iconography of the Virgin Mary.
Opie produces this print with simplified form, bright block colours and thick, bold outlines creating a portrait in its most basic mode. Opie makes the point, however, 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.
