5 Year Print Market Review 2023
Painting For Charles Addams - Signed Print by Harland Miller 2013 - MyArtBroker

Painting For Charles Addams
Signed Print

Harland Miller

£6,000-£9,000 VALUE (EST.)

$11,500-$17,000 VALUE (EST.)

$10,000-$15,000 VALUE (EST.)

¥50,000-¥80,000 VALUE (EST.)

7,000-10,500 VALUE (EST.)

$60,000-$90,000 VALUE (EST.)

¥1,100,000-¥1,650,000 VALUE (EST.)

$7,500-$11,000 VALUE (EST.)

18% AAGR (5YR)

This estimate blends recent public auction records with our own private sale data and network demand.

Screenprint, 2013
Signed Print Edition of 50
H 134cm x W 95cm

TradingFloor

2 in network
2 want this
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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
July 2022Tate Ward Auctions - United KingdomPainting For Charles Addams - Signed Print
March 2021Forum Auctions London - United KingdomPainting For Charles Addams - Signed Print
July 2019Tate Ward Auctions - United KingdomPainting For Charles Addams - Signed Print

Meaning & Analysis

Painting For Charles Addams is part of the Obituary series. In this series Miller takes obituaries of famous personalities as his starting point. He imbues the images in this series with humour and nostalgia, important features of his artistic practice which are often avoided in contemporary art. Painting For Charles Addams is based on the obituary of Charles Addams, the American artist and cartoonist, known for his dark humour and macabre characters. His most famous work was creating the fictional cartoon household, The Addams Family, a satirical inversion of the ideal 20th-century American family.The print is based on the painting, Painting for Charles Addams (2012) which was exhibited at the White Cube Hoxton Square in 2012 as part of Miller’s exhibition, The Next Life’s On Me.

Miller is most famous for his Penguin prints series which he began in 2001, inspired by the format of the dust jackets of Penguin books. In this iconic series, he appropriates the familiar format and motif of the Penguin title page by coming up with his own ironic, humorous titles. Miller’s humour shines through in this print, reflective of his interest in the relationship between words and images and the disconnect between representation and reality.

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