Bijou Gets Undressed 5
Bijou Gets Undressed 5
Signed Print
Julian Opie
£9,500-£14,500
$19,000-$28,000 Value Indicator
$17,000-$26,000 Value Indicator
¥90,000-¥130,000 Value Indicator
€11,500-€17,000 Value Indicator
$100,000-$150,000 Value Indicator
¥1,860,000-¥2,830,000 Value Indicator
$12,500-$19,000 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: 2004
Size: H 38cm x W 78cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Phillips London - United Kingdom | Bijou Gets Undressed 5 - Signed Print | |||
| July 2021 | Christie's New York - United States | Bijou Gets Undressed 5 - Signed Print | |||
| January 2020 | Phillips London - United Kingdom | Bijou Gets Undressed 5 - Signed Print | |||
| December 2015 | Koller Zurich - Switzerland | Bijou Gets Undressed 5 - Signed Print |
Meaning & Analysis
Showing a nude figure in a set of five provocative poses, Julian Opie’s Bijou Gets Undressed 5 is a screen print from his 2004 Bijou Gets Undressed series. In this print, the model is wearing only underwear on her bottom half and shoes, with her breasts exposed. Bijou’s shoes are invisible, consisting of thin straps around her ankles, alluding to the fetish about heels being the phallic extension of the legs.
Opie depicts the figures in his simplified linear style, each reduced to a clear-cut outline of torso and limbs, a circle for the head and two curved lines for breasts. In utilising the choreography, gestures and iconography of strip shows, Opie creates a sexually charged image of the ‘ideal’ woman’s body as we know it from advertising and mass culture. Bijou Gets Undressed 5 is unusually alluring in the way that the figure has been anonymised by her lack of facial features whilst maintaining sex appeal.
By placing the figures next to one another in differing poses from left to right, Opie immediately conveys the sense that this woman is performing for the viewer. The composition gives the static print the appearance of an animation, a medium that Opie has also delved into throughout his career.
