Love Conquers Nothing
Love Conquers Nothing
Signed Print
Harland Miller
£4,150-£6,000
$8,000-$12,000 Value Indicator
$7,500-$10,500 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,900-€7,000 Value Indicator
$40,000-$60,000 Value Indicator
¥800,000-¥1,150,000 Value Indicator
$5,000-$7,500 Value Indicator
AAGR (5 years) 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.
Medium: Digital Print
Edition size: 35
Year: 2011
Size: H 42cm x W 34cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Sotheby's Online | United Kingdom | |||
| March 2024 | Sotheby's London | United Kingdom | |||
| December 2023 | Tate Ward Auctions | United Kingdom | |||
| December 2023 | Tate Ward Auctions | United Kingdom | |||
| November 2023 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
| October 2023 | Tate Ward Auctions | United Kingdom | |||
| October 2023 | Tate Ward Auctions | United Kingdom |
Meaning & Analysis
Love Conquers Nothing is an inkjet print on Somerset Satin, edition of 50 and part of Harland Miller’s Penguin series. This print is signed and numbered by the artist. It features Miller as author, the Penguin logo and the title against an Abstract Expressionist background.
Love Conquers Nothing, produced in 2011, highlights Miller’s satirical, slightly cynical humour and Abstract Expressionist influences running through his emblematic Penguin series. These clever works are based on the familiar cover format of Penguin books, authentically replicated in their rugged, second-hand finish by Miller through applying layers of paint onto an original digital photograph. The Penguin series is a fascinating exploration of the disconnect between representation and reality through Miller’s manipulation of his invented titles of these reimagined books by colour-coding them with various backgrounds. The titles can be characterized as “wittily deadpan, punkish and aphoristic” as novelist Michael Bracewell said.
Love Conquers Nothing is shown against a rich, dark-toned background resembling an abstract painting with the black paint dominating, dripping down over the magenta and yellow. This gives the text a pessimistic, even nihilistic air, demonstrating Miller’s skill of coding language through colour and image.It marries a variety of Miller’s important influences including his love for language and literature and visual traces of Pop Art, Colour Field and Abstract Expressionism and artists Anselm Kiefer, Rauschenberg, Ed Ruscha and Mark Rothko. In this piece the juxtaposition between the nostalgia and sentiment evoked by the familiarity of Vintage Penguin Classics and the quasi anti-romantic, disillusioned title strikes as especially powerful.
