Black And Grey Clipping
Black And Grey Clipping
Signed Print
Jonas Wood
£8,000-£12,000 VALUE (EST.)
$14,500-$22,000 VALUE (EST.)
$13,500-$20,000 VALUE (EST.)
¥70,000-¥100,000 VALUE (EST.)
€9,000-€13,500 VALUE (EST.)
$80,000-$120,000 VALUE (EST.)
¥1,290,000-¥1,940,000 VALUE (EST.)
$10,000-$15,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Intaglio, 2017
Signed Print Edition of 10
H 23cm x W 15cm
Your collection tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
Track value
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2020 | Phillips London - United Kingdom | Black And Grey Clipping - Signed Print | |||
| September 2019 | Phillips London - United Kingdom | Black And Grey Clipping - Signed Print |
Meaning & Analysis
Black and Grey Clipping (2017) by Jonas Wood is a signed intaglio print representing the artist’s particular interest in details of everyday life, especially the minuscule, easily unnoticed elements that constitute the beauty of the natural world. Striking with the simplicity of the composition, the print depicts a thin flower against a plain background, exemplifying how the artist moves away from the style characterising his famous paintings, such as Shio And Robot (2008) or Mom With Stuffed Animals (2011).
While in Wood’s earlier works multiple, densely accumulated details vie for the viewer’s attention, here the emphasis is placed on the individual elements of the single object: a thin yellow stem of the flower that contrasts with its monochrome petals and leaves. In this way, the artist encourages the viewer to look deeper into the surroundings and see how its beauty is constituted by tiny elements that may easily escape the naked eye. Wood commented in the context of the subject matter of his artworks: "You could call [my work] a visual diary or even a personal history. I’m not going to paint something that doesn’t have anything to do with me. Of all of the possible things I could paint, the thing that interests me is something that I can get close enough to in order to paint it honestly."
