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Armageddon Is It Too Much To Ask (small) - Signed Print by Harland Miller 2017 - MyArtBroker

Armageddon Is It Too Much To Ask (small)
Signed Print

Harland Miller

£3,800-£5,500Value Indicator

$8,000-$11,500 Value Indicator

$7,000-$10,000 Value Indicator

¥35,000-¥50,000 Value Indicator

4,350-6,500 Value Indicator

$40,000-$60,000 Value Indicator

¥760,000-¥1,090,000 Value Indicator

$5,000-$7,500 Value Indicator

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102 x 67cm, Edition of 50, Etching

Medium: Etching
Edition size: 50
Year: 2017
Size: H 102cm x W 67cm
Signed: Yes
Format: Signed Print
Last Auction: June 2023
Value Trend:
-10% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

TradingFloor

1 in network
4 want this
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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
June 2023
Tate Ward Auctions
United Kingdom
$7,500
$8,500
$11,000
June 2023
Tate Ward Auctions
United Kingdom
September 2022
Christie's London
United Kingdom
April 2019
Tate Ward Auctions
United Kingdom
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Track auction value trend

The value of Harland Miller's Armageddon Is It Too Much To Ask (small) (signed) is estimated to be worth between £3,800 and £5,500. This etching print from 2017 has shown consistent value growth, with an auction history of four sales since its entry to the market in April 2019. In the past five years, the hammer price has varied from £7,000 in June 2023 to £8,064 in September 2022. The average annual growth rate of this work is -10%. The edition size of this artwork is limited to 50.

Created with Highcharts 11.4.8Apr 2019Dec 2019Sep 2020May 2021Jan 2022Oct 2022Jun 2023$6,000$7,000$8,000$9,000$10,000$11,000$12,000© MyArtBroker

Meaning & Analysis

The artist utilises various printmaking techniques in Armageddon Is It Too Much To Ask?. By employing polymer-gravure, photo-etching and block printing, Miller achieves a more graphic and superimposed finish. While at first glance the work might seem one dimensional, its main elements have in fact been given a multilayered appearance.

The disposition of the textual and the figurative components in this print have been revised, and the title no longer occupies the central panel. As opposed to the artist’s earlier adaptations of Penguin book covers, the observer is unlikely to be intimately familiarised with the source material utilised in this work. As a result, a different kind of relationship is formed between form, text and colour palette. In effect, the title is actually activated by the bold colour composition in the centre. A corresponding strategy and structure can be detected in Miller’s Happiness: The Case Against.