Bromeliad
Bromeliad
Signed Print
Jonas Wood
£1,200-£1,750 VALUE (EST.)
$2,200-$3,200 VALUE (EST.)
$2,000-$2,900 VALUE (EST.)
¥10,000-¥14,500 VALUE (EST.)
€1,350-€2,000 VALUE (EST.)
$11,500-$17,000 VALUE (EST.)
¥200,000-¥280,000 VALUE (EST.)
$1,450-$2,100 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Screenprint, 2020
Signed Print Edition of 200
H 71cm x W 58cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Christie's Amsterdam - Netherlands | Bromeliad - Signed Print | |||
| March 2022 | Sotheby's Hong Kong - Hong Kong | Bromeliad - Signed Print | |||
| January 2022 | SBI Art Auction - Japan | Bromeliad - Signed Print | |||
| November 2021 | Bonhams New York - United States | Bromeliad - Signed Print | |||
| January 2021 | SBI Art Auction - Japan | Bromeliad - Signed Print | |||
| January 2021 | Phillips London - United Kingdom | Bromeliad - Signed Print | |||
| October 2020 | Tate Ward Auctions - United Kingdom | Bromeliad - Signed Print |
Meaning & Analysis
Bromeliad (2020) is a signed screen print by Jonas Wood showing how the artist translates the three-dimensional world around him into simple yet captivating flat forms. Released in an edition of 200, the print depicts the tropical plant whose spiky leaves rendered in dark shades of green and purple sprawl across the plain beige background. A blooming flower appears at the centre of the print protruding from among the mass of lush leaves.
As an example of a classic modern figurative subject matter, the bromeliad in the print affirms Wood’s relationship with the rich lineage of artists including Henri Matisse and David Hockney. Similarly to Matisse’s Still Life With Shell (1940) and Hockney’s Four Flowers In Still Life (1990), Bromeliad represents Wood’s reimagining of the fabric of everyday life through bold colours, shapes, and dimensions. The artist 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."
