Versailles (blue)
Versailles (blue)
Signed Print
Invader
£1,350-£2,000
$2,700-$3,950 Value Indicator
$2,450-$3,600 Value Indicator
¥12,500-¥18,000 Value Indicator
€1,600-€2,400 Value Indicator
$13,500-$20,000 Value Indicator
¥260,000-¥390,000 Value Indicator
$1,700-$2,550 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: 100
Year: 2018
Size: H 55cm x W 50cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2024 | SBI Art Auction | Japan | |||
| November 2022 | Digard | France | |||
| July 2021 | Christie's New York | United States | |||
| December 2020 | Aguttes, Paris | France | |||
| December 2020 | Aguttes, Paris | France | |||
| December 2019 | Tate Ward Auctions | United Kingdom | |||
| April 2019 | Digard | France |
Meaning & Analysis
This signed screen print from 2018 is a limited edition of 100 from Invader’s Versailles series. The screen print represents a digitally-transposed version of a blue mirror framed by a brown ornate frame evocative of the Rococo and Baroque mirrors of the French Palace. It belongs to Invader’s Versailles Series.
Available also in black, this signed print was produced in conjunction with Invader’s largest solo exhibition, Into The White Cube, held at Over the Influence in Los Angeles. For the exhibition, which offered a retrospective of Invader’s practice of over two decades, Invader decided to produce an entirely new array of his world-famous pixelated images, which he then made available to purchase as prints.
Here, Invader evokes the incredible flair of the Hall of Mirrors in the Palace of Versailles. While this is the first time Invader references the French city within an exhibition, Invader’s love for Versailles, and all that it represents in art history, is epitomised by the multiple and repeated waves of invasion the artist enacted: at the moment, the city holds more than 42 public artworks and has been invaded over twelve times.
Thus, even if exhibited in the United States, these mirrors cross and overcome geographical boundaries and distances to stage a dialogue between Invader’s public project of Invasion of Versailles and his more private and commercially available practice. The print thus speaks to Invader’s desire to engage with urban and art historical landmarks, thus placing his artworks within a broader art historical genealogy.
