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Imagine You Are Driving (Fast) /Olivier/Helmet - Signed Print by Julian Opie 2002 - MyArtBroker

Imagine You Are Driving (Fast) /Olivier/Helmet
Signed Print

Julian Opie

£2,750-£4,100Value Indicator

$5,500-$8,000 Value Indicator

$4,850-$7,000 Value Indicator

¥25,000-¥35,000 Value Indicator

3,250-4,850 Value Indicator

$26,000-$40,000 Value Indicator

¥530,000-¥790,000 Value Indicator

$3,400-$5,000 Value Indicator

-11% AAGR

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: 2002

Size: H 56cm x W 120cm

Signed: Yes

Format: Signed Print

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Julian Opie's Imagine You Are Driving (Fast) /Olivier/Helmet (signed) is a digital print from 2002, estimated to be valued between £2,750 and £4,100. This artwork has shown consistent sales activity, with a total of 3 sales since its entry to the market on 13th October 2021. The hammer price over the last 12 months has ranged from £3,518 in October 2021 to £3,740 in January 2023. The average annual growth rate of this piece is -11%. The edition size of this artwork is limited to 40.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
August 2023Bonhams Online United Kingdom
January 2023Wright United States
October 2021Wright United States
October 2021Wright United States

Meaning & Analysis

The racetrack image on the left of the print takes up around two thirds of the composition, and shows a vast expanse of dark, flat tarmac. Opie’s use of vanishing point and low-view perspective works to create a dramatic composition, heightened by the fact that the scene is devoid of human presence.

Imagine You Are Driving (Fast)/Olivier is exemplary of the way in which Opie combines realism and abstraction to form his unique and highly recognisable style. Notably, the reflections on the sitter’s helmet and the small details along the side of the racetrack underline the sense of realism in the print. However, Opie’s use of saturated block colour and dark, thick outlines work to pare-back the images to the point of depersonalisation and abstraction.