Landscape Pot With Plant
Landscape Pot With Plant
Signed Print
Jonas Wood
£12,000-£18,000 VALUE (EST.)
$22,000-$35,000 VALUE (EST.)
$20,000-$30,000 VALUE (EST.)
¥100,000-¥150,000 VALUE (EST.)
€13,500-€20,000 VALUE (EST.)
$120,000-$170,000 VALUE (EST.)
¥1,950,000-¥2,920,000 VALUE (EST.)
$14,500-$22,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Screenprint, 2017
Signed Print Edition of 100
H 100cm x W 75cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2022 | SBI Art Auction - Japan | Landscape Pot With Plant - Signed Print | |||
| June 2022 | Phillips London - United Kingdom | Landscape Pot With Plant - Signed Print | |||
| March 2022 | Christie's London - United Kingdom | Landscape Pot With Plant - Signed Print | |||
| March 2022 | SBI Art Auction - Japan | Landscape Pot With Plant - Signed Print | |||
| September 2020 | Phillips London - United Kingdom | Landscape Pot With Plant - Signed Print |
Meaning & Analysis
Landscape Pot With Plant (2017) is a signed screen print by Jonas Wood, in which a fragment of a serene landscape covers the surface of a plant pot. Creating a curious example of a picture within a picture, a motif much loved by painters such as Lucian Freud and David Hockney, the Los Angeles-based artist uses still-life painting as an opportunity to explore the visual potential of simple forms.
Hailing from the East Coast, Wood remains influenced by the flora of Southern California and ever since his arrival in Los Angeles in 2003, he has continued to experiment with the representation of plants in his works. While some tropical plants that make the subject matter of Wood’s paintings reflect the greenery of his immediate indoor environment, many of them also invoke Southern California’s climate and cultural identity.
Given its decorative appeal and powerful simplicity, Landscape Pot With Plant creates links with the legacy of Henri Matisse, especially such works as Icarus (1943), The Blue Nude (1952), and The Snail (1953). Present in Wood’s focus on the world of nature is the modernist desire to blur the line between art and life, aesthetic and experience. 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."
