Versailles (black)
Versailles (black)
Signed Print
Invader
£1,450-£2,150
$2,800-$4,150 Value Indicator
$2,600-$3,850 Value Indicator
¥13,500-¥20,000 Value Indicator
€1,750-€2,550 Value Indicator
$14,500-$22,000 Value Indicator
¥280,000-¥420,000 Value Indicator
$1,900-$2,800 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 | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2024 | SBI Art Auction - Japan | Versailles (black) - Signed Print | |||
| January 2023 | SBI Art Auction - Japan | Versailles (black) - Signed Print | |||
| September 2021 | Sotheby's Hong Kong - Hong Kong | Versailles (black) - Signed Print | |||
| October 2020 | SBI Art Auction - Japan | Versailles (black) - Signed Print | |||
| September 2020 | Sotheby's Hong Kong - Hong Kong | Versailles (black) - Signed Print | |||
| October 2019 | Tate Ward Auctions - United Kingdom | Versailles (black) - Signed Print | |||
| July 2019 | SBI Art Auction - Japan | Versailles (black) - Signed Print |
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 black 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 blue, 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. Therefore, the print is a testament to Invader’s growing visibility within the institutional artistic scenery, with Invader’s pixelated and digitalised visual language having taken over both the public space of the city and the enclosed space of art galleries.
This attests to the versatility of Invader’s practice, which, even if inscribed within a broader movement of Street Art, is easily translatable to the more private walls of a museum or a house, equally amusing and engaging for the beholder.
The mirror here evokes the luxury and opulence of the Halls of Mirrors in the French Palace of Versailles, built in the seventeenth century for Louis the XIV. No doubt that, through his fine art education at the École des Beaux-Arts in Paris, a young Invader had the chance to visit and be highly fascinated and influenced by the halls of the palace. In such a way, this print points to Invader’s rigorous artistic training, as well as his desire to engage with French cultural symbols, here referenced through the mirrors of Versailles.
