5 Year Print Market Review 2023
Versailles (blue) - Signed Print by Invader 2018 - MyArtBroker

Versailles (blue)
Signed Print

Invader

£3,200-£4,800 VALUE (EST.)

$6,000-$9,000 VALUE (EST.)

$5,500-$8,000 VALUE (EST.)

¥29,000-¥45,000 VALUE (EST.)

3,700-5,500 VALUE (EST.)

$30,000-$45,000 VALUE (EST.)

¥590,000-¥880,000 VALUE (EST.)

$3,950-$6,000 VALUE (EST.)

8% AAGR (5YR)

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.

Screenprint, 2018
Signed Print Edition of 100
H 55cm x W 50cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
July 2021Christie's New York - United StatesVersailles (blue) - Signed Print
December 2020Aguttes, Paris - FranceVersailles (blue) - Signed Print
December 2020Aguttes, Paris - FranceVersailles (blue) - Signed Print
December 2019Tate Ward Auctions - United KingdomVersailles (blue) - Signed Print
April 2019Digard - FranceVersailles (blue) - Signed Print
April 2019Digard - FranceVersailles (blue) - Signed Print

Meaning & Analysis

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.

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