Luc And Ludivine Get Married. (pair 02)
Luc And Ludivine Get Married. (pair 02)
Signed Print
Julian Opie
£4,500-£6,500
$9,000-$12,500 Value Indicator
$8,000-$11,500 Value Indicator
¥40,000-¥60,000 Value Indicator
€5,500-€7,500 Value Indicator
$45,000-$70,000 Value Indicator
¥890,000-¥1,290,000 Value Indicator
$6,000-$8,500 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: Digital Print
Edition size: 10
Year: 2007
Size: H 40cm x W 49cmx D 9cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2022 | Phillips London - United Kingdom | Luc And Ludivine Get Married. (pair 02) - Signed Print | |||
| November 2013 | Bonhams New Bond Street - United Kingdom | Luc And Ludivine Get Married. (pair 02) - Signed Print |
Meaning & Analysis
Taken from Julian Opie’s Luc And Ludivine Get Married series from 2007, Luc And Ludivine Get Married (pair 02) is a work that shows two portraits presented in elliptical frames and blown domed glazing. The work shows portraits of a man and woman produced from cut black and white paper laminated together, the man facing to the left and the woman facing outwards.
Luc And Ludivine Get Married (pair 02) explicitly engages with the 19th century art historical tradition of silhouette portraiture, led by artist Auguste Edouart, whereby the new middle classes would commission family group or individual portraits to record a moment in time. Opie has a strong interest in noticing silhouettes everywhere and his The Gallery Staff series from 2010 also engages with this tradition.
Opie places many of his works within art historical narratives by engaging with the traditional genre of portraiture painting and his use of composition and pose in Luc And Ludivine Get Married is typical of this. At the same time, Opie turns the art historical context on its head by playing with different compositions in an almost mechanical way across the series and rendering the portraits as highly simplified pictograms that are unequivocally modern.
