Who Is Julian Opie?

Who is Julian Opie, and what is his artistic identity?

Julian Opie (b. 1958, UK) is best known for his highly recognisable minimalist style: bold outlines, flat areas of colour, simplified forms, absence of facial detail, often subjects in motion (walking silhouettes), portraiture, landscapes, public signage‑like imagery, and use of various media ranging from screenprints and lithographs to LED/digital works and lenticular prints.

Opie's work often draws from influences including Japanese woodblock prints, classical portraiture, public signage (road / information graphics), Egyptian hieroglyphics, and modern design. His pieces are about stripping back detail and letting line and colour do the work of expression.

He has had a long career, with works in public collections (e.g. Tate, MoMA, National Portrait Gallery, British Council) and many public commissions and installations.

Because of the combination of recognisability, visual clarity, adaptability across media, and public presence, Opie appeals to a broad audience: collectors of contemporary art, design enthusiasts, public art authorities, galleries, etc. This matters especially in prints and editions, where his style facilitates reproducibility and accessibility, yet still retains prestige.

Historical sales & market trends (especially prints)

To understand where things stand in 2025, it helps to trace how Opie's print market has moved in recent years.

  • The total turnover from Opie prints at auctions peaked during the pandemic years. For example, one source (Mark Littler) notes that in 2021, print sales for Opie reached approx £1,000,841.

  • But there has since been a decline. In 2024, the turnover for prints was approx £418,918, less than half of its 2021 high, indicating market correction or changing collector sentiment.

  • The volume of lots for prints has increased: more editions and prints are being offered at auction (for example lot volumes more than doubled from 73 to 186 in a given span). But simultaneously, the percentage of unsold works increased (from ~19% to ~24%), suggesting supply may be outpacing demand or that pricing/choice is mismatched.

What kinds of prints tend to do best?

Certain themes and series in Opie's print work tend to be more sought after and fetch higher prices:

  • "Walking" or figures in motion is a recurring theme; walking silhouettes, street walkers, etc., are among his most popular. These prints often perform strongly.

  • Nude or semi‑nude female figures (e.g. This is Shahnoza series) are also popular, with some prints in that area fetching significant sums.

  • Series like New York Couples (2019), walking series (e.g. Walking in London), lenticular works (e.g. Sian Walking / Jeremy Walking / Verity Walking / Kris Walking) have all shown strong performance.

Major print‑sale records

Some of the standout print sale or group sales include:

  • The New York Couples series: a set of eight screenprints, edition of 55, from 2019. The complete set fetched £117,738 at SBI Art Auction in March 2022.

  • Ika 4 - part of a series of portraits, sold by Ketterer Kunst in Munich (June 2021) for £51,560.

  • A group of four works - Sian Walking / Jeremy Walking In A Coat / Verity Walking / Kris Walking - sold by Phillips in September 2023 for £50,000.

  • Another strong result: Walking in London 1: Detective/Lawyer/Banker/Student/Nurse (2014 series) from lenticular prints, sold for £50,000 (exceeding estimates) at Phillips in January 2018.

"Other media" big results and works

Beyond prints, Opie's paintings and other one‑off works also fetch higher sums:

  • His painting Walking in Sadang‑Dong in the Rain sold at Seoul Auction in March 2021 for £160,750.

  • Public works, large installations, lenticular/acrylic panels also add to his market strength, especially for collectors interested in "statement" pieces.

Market metrics

  • According to MyArtBroker, many of Opie's works sold for print editions go for £1,000 to £5,000 at auction, although a proportion climb up to £50,000+.

  • Prints represent ~50‑60% of the work sold at auctions by Opie. In some sources, 53-54% of the lots are prints.

  • Average value of his artwork went through significant growth (one source says ~19% growth between 2017‑2022) and the average print price (depending on edition, theme, media) has climbed over time.

Global reach & appeal

Why and how Opie is collected globally:

  • Opie's works are in major public and private collections across continents: Europe (UK, Germany, Austria etc.), North America, Asia (Seoul etc.), Australia. Institutions like Tate (UK), Museum of Modern Art (New York), National Portrait Gallery (UK), Albertina, etc.

  • Public art commissions and installations, LED/digital works, and visibility in many cities add to his profile, making him more recognizable beyond just collectors of prints.

  • His aesthetic is non‑alienating: bold, graphic, easily reproducible or understood even by people who do not regularly engage with "fine art." This helps with mass appeal and with demand in multiple markets.

  • Also, his experiments with different media (lithographs, screenprints, lenticular prints, digital/LED works, sculpture) mean that there are works at many price tiers: more accessible editions and more premium unique or large works. This "ladder" is attractive for collectors at different levels.

Recent (2025) developments and mid‑term outlook

By 2025, the market seems to be in a phase of stabilization (after the pandemic spike) with select works continuing to do well, especially those with provenance, rarity, strong themes (walking figures, nudes, lenticular), or in good condition and signed.

Some recent auction highlights:

  • In November 2024, at Bonhams 'Modern & Contemporary Art Online Sale', Suzanne walking in leather skirt. 4 (2008) sold for $48,700, significantly above its low estimate.

  • Screenprints (e.g. Gary Popstar) still appear at moderate to strong levels, depending on edition size, condition, etc. For example, Gary Popstar (screenprint, ed. 6/40, 1999) had an estimate of $1,500‑$2,500 in a recent May 2025 auction.

Challenges/caveats:

  • The high volumes of prints being offered may cause a saturation effect; some print lots are unsold or sold below expectations.

  • Collector attention may be shifting somewhat towards experiential or digital works (LED, animation, public art, installations) or unique works vs. prints/editions in some segments.

  • Pricing for prints is variable depending on edition size, series popularity, date, condition, whether signed, etc. So risk for buyers: a print from a less popular series may not appreciate as strongly.

Why Opie matters for contemporary collections

From a collector's perspective, here are several reasons why adding Opie makes sense:

  1. Recognizability & Brand: Opie's visual style is very strong and instantly identifiable. Works like his walking figures or minimal portraits linger in the mind. That gives a kind of built‑in value, in terms of recognizability and "cultural cachet."

  2. Medium diversity & "laddering": Because he works in many media-prints, screenprints, lenticulars, digital/LED, sculpture-collectors can engage at different price points. Lower edition prints make entry possible; more premium works can climb in value. This is valuable from both aesthetic and investment viewpoints.

  3. Global institutional recognition: Opie's presence in major museum / public collections gives credibility. It means provenance and prestige are available; works with good provenance often do better at auction.

  4. Popular themes with broad resonance: His subjects (people walking, public space, silhouettes, nudity in stylised form, everyday life) are broadly accessible. They carry strong visual impact and universal themes-movement, identity, anonymity, everyday rituals. This helps with cross‑market appeal.

  5. Media & visibility: His public artworks, installations, commercials, album covers, and digital works ensure that Opie isn't just known to art insiders. This helps maintain steady demand. People who might not collect prints might buy smaller works, and vice versa.

  6. Investment potential: While prints are volatile, top works have shown strong results. The fact that certain series have fetched high numbers (New York Couples; etc.) suggests that rare and desirable editions can appreciate significantly. Also, the decline from 2021 peaks may present good buying opportunities if one finds a strong work with good provenance at a lesser price.

  7. Aesthetic consistency and evolution: Opie has maintained a clear artistic voice over decades, yet continues to experiment (lenticular, public pieces, etc.). That kind of coherence plus evolution is attractive: works from early in his career alongside more recent works can show both historical breadth and ongoing relevance.

Risk factors & what to watch out for

Any collector should also consider:

  • Edition size: Larger editions tend to dilute value; smaller editions or signed artist's proofs tend to hold or appreciate more.

  • Condition: Prints may degrade, especially over time; lenticular prints/acrylic works need careful handling.

  • Popularity of the series/theme: Some series are more in demand than others. E.g. walking silhouette themes, nude/semi‑nude series, etc.

  • Provenance and authenticity: Signed works, exhibition history, reliable documentation help.

  • Market saturation: If many prints of a given edition circulate, price appreciation may be muted.

  • Currency fluctuations and regional market differences; a work purchased in one geography might have different demand or resale value in another.

Where will things go from here?

  • Demand for editions from top‑tier series (walking figures, nude/semi‑nude, lenticular works) will likely stay relatively strong. These are signature motifs in Opie's oeuvre and have historic demand.

  • Unique / rare works (paintings, large scale or public installations, LED/digital works) may see growing interest - especially from collectors who want something more than editioned prints.

  • Secondary market (auction) will likely continue to show variability: great potential, but also risk in overpaying or having trouble reselling if the work isn't in a "blue chip" series or well‑provenanced.

  • Growth in interest from Asia (South Korea, Korea more broadly; perhaps China, Japan etc.), partly evidenced by strong sales in Seoul and other Asian markets. This helps diversify demand beyond UK/Europe/US.

  • Also, as Opie experiments with newer media (lenticular, digital display), there may be more crossover interest: galleries or collectors interested in art + design + public art might push those boundaries.

Conclusion: Why Opie is a good addition to a contemporary collection

Summarising the case:

  • Because of the strong recognisability of his visual language, Opie pieces tend to be memorable and resonate with viewers. That means they can make impact in a collection both aesthetically and socially.

  • Prints offer more affordable (relatively speaking) entry points, allowing collectors to engage with his work without prohibitive investment.

  • Rarity, quality, edition, signed vs unsigned, and theme matter: selecting works from significant series, or lenticular works, or ones with provenance, gives greater chance of appreciation and prestige.

  • For more ambitious collections, having one or more unique works, installations or high value paintings can provide a flagship piece that anchors Opie's presence in the collection.

  • Given his global presence, strong museum inclusion, and public recognition, Opie is less likely to be a fad; rather, his work represents a sustained aesthetic, with ongoing relevance in contemporary art, public art, design, and culture.

September 15, 2025