Happiness (small)
Happiness (small)
Signed Print
Harland Miller
£4,850-£7,500
$9,500-$14,500 Value Indicator
$8,500-$13,500 Value Indicator
¥45,000-¥70,000 Value Indicator
€6,000-€9,000 Value Indicator
$50,000-$80,000 Value Indicator
¥940,000-¥1,450,000 Value Indicator
$6,500-$10,000 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: Intaglio
Edition size: 50
Year: 2017
Size: H 99cm x W 73cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2023 | Phillips London - United Kingdom | Happiness (small) - Signed Print | |||
| March 2023 | Christie's London - United Kingdom | Happiness (small) - Signed Print | |||
| September 2022 | Christie's Zurich - Switzerland | Happiness (small) - Signed Print | |||
| June 2022 | Christie's London - United Kingdom | Happiness (small) - Signed Print | |||
| March 2021 | Tate Ward Auctions - United Kingdom | Happiness (small) - Signed Print | |||
| September 2019 | Christie's London - United Kingdom | Happiness (small) - Signed Print | |||
| January 2019 | Phillips London - United Kingdom | Happiness (small) - Signed Print |
Meaning & Analysis
For his more recent series depicting book covers, Harland Miller turns his attention to psychology and social science publications from the 1960s and ’70s. Happiness is distinctly modelled after the cover design of a self-help manual, while also demonstrating Miller’s continued interest in colour experimentation. A corresponding strategy and structure can be detected in his work, Armageddon: Is It Too Much To Ask?.
The artist utilises various printmaking techniques in Happiness, employing polymer-gravure, photo-etching and block printing to achieve a more graphic and superimposed finish. While at first glance the work might seem one dimensional, its main elements have in fact been given a multilayered appearance.
Additionally, the disposition of the textual and the figurative components have been revised and the title no longer occupies the central panel. As opposed to his earlier adaptations of Penguin book covers, the observer is unlikely to be intimately familiarised with the source material in this series.
As a result, a different kind of relationship is formed between form, text and colour palette in Happiness. The observer is inclined to firstly consider the hovering cube formation in the middle, making the text above serve a secondary purpose. In effect, the title is actually activated by the bold colour composition.
