5 Year Print Market Review 2023
This Is Shahnoza In 3 Parts 3 - Signed Mixed Media by Julian Opie 2008 - MyArtBroker

This Is Shahnoza In 3 Parts 3
Signed Mixed Media

Julian Opie

£18,000-£28,000Value
Indicator

$35,000-$50,000 Value Indicator

$30,000-$50,000 Value Indicator

¥160,000-¥250,000 Value Indicator

21,000-35,000 Value Indicator

$180,000-$280,000 Value Indicator

¥3,340,000-¥5,190,000 Value Indicator

$23,000-$35,000 Value Indicator

-9% AAGR (5YR)

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: Mixed Media

Format: Signed Mixed Media

Year: 2008

Size: H 97cm x W 141cm

Edition size: 30

Signed: Yes

Jasper Tordoff
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Julian Opie's mixed media artwork, "This Is Shahnoza In 3 Parts 3" (signed), is estimated to be worth between £18,000 to £28,000. Created in 2008, this piece has been sold at auction three times since its first sale in February 2012. The edition size of this artwork is limited to 30, making it a unique addition to any collection.

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
December 2016Artcurial - FranceThis Is Shahnoza In 3 Parts 3 - Signed Mixed Media
March 2016Sotheby's Online - United KingdomThis Is Shahnoza In 3 Parts 3 - Signed Mixed Media
May 2015Sotheby's New York - United StatesThis Is Shahnoza In 3 Parts 3 - Signed Mixed Media
February 2012Phillips London - United KingdomThis Is Shahnoza In 3 Parts 3 - Signed Mixed Media

Meaning & Analysis

This Is Shahnoza In 3 Parts 3 is indicative of Opie’s fascination with the human form and pose, dividing the figure’s body into three framed panels that follow the dramatic position of the model. Opie used a combination of screen printing and flocking to create these works, creating a black, velvety surface texture which contrasts with the pure white acrylic support panels.

Opie’s use of the flocking technique, a process of adhering fine textile fibres to a surface, is indicative of his desire to engage with art historical techniques to create decidedly modern images. Historically, flocking is associated with wall coverings that were popular during the reign of Louis XIV of France. Furthermore, Opie explores the nude human form as the basis of the series, something that has preoccupied artists for generations. However, this traditional art historical genre is turned on its head by explicitly citing the model as a professional pole dancer.

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