Still Life With Chestnuts And Leek
Still Life With Chestnuts And Leek
Signed Print
Julian Opie
£1,550-£2,250
$2,900-$4,250 Value Indicator
$2,650-$3,850 Value Indicator
¥13,500-¥20,000 Value Indicator
€1,750-€2,550 Value Indicator
$15,000-$22,000 Value Indicator
¥260,000-¥380,000 Value Indicator
$1,950-$2,800 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: 40
Year: 2001
Size: H 39cm x W 65cmx D 3cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| February 2024 | Phillips London - United Kingdom | Still Life With Chestnuts And Leek - Signed Print | |||
| June 2010 | Bonhams Knightsbridge - United Kingdom | Still Life With Chestnuts And Leek - Signed Print | |||
| March 2010 | Bonhams Knightsbridge - United Kingdom | Still Life With Chestnuts And Leek - Signed Print |
Meaning & Analysis
Engaging with the canonical styles of art history, Still Life With Chestnuts And Leek is a print from Julian Opie’s Still Life series from 2001. The print shows an image of a leek lying horizontally next to a pile of chestnuts in a closely cut composition, set against a black backdrop. In its traditional composition, allusion to realism and starkly contrasted dark background, this print is reminiscent of 17th century Dutch still life painting.
Since the mid-1990s, Opie has explored the principles of modular variation across artistic media and art historical genres. The artist’s Still Life series is indicative of this investigation, with prints consisting of similar titles, each with the same horizontal composition, and the use of fruit and vegetables interchanged in each print. Opie emphasises art as a commodity in his replication of post-industrial modes of production and exposes the dehumanising effects of computer technology.
Brightly coloured and shiny, the fruit and vegetables depicted by Opie in this series appear almost synthetic, without any signs of irregularity or damage. Through the artificial nature of the chestnuts and leek represented, Opie parallels this with his methods and style of working that defy the presence of the artist’s hand.
