On Me Not In Me
On Me Not In Me
Signed Print
Harland Miller
£9,500-£14,500
$18,000-$28,000 Value Indicator
$17,000-$26,000 Value Indicator
¥90,000-¥130,000 Value Indicator
€11,500-€17,000 Value Indicator
$100,000-$150,000 Value Indicator
¥1,860,000-¥2,840,000 Value Indicator
$12,500-$19,000 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: Screenprint
Edition size: 50
Year: 2015
Size: H 80cm x W 65cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Rosebery's Fine Art Auctioneers - United Kingdom | On Me Not In Me - Signed Print | |||
| March 2024 | Rosebery's Fine Art Auctioneers - United Kingdom | On Me Not In Me - Signed Print | |||
| March 2021 | Tate Ward Auctions - United Kingdom | On Me Not In Me - Signed Print | |||
| January 2021 | Phillips London - United Kingdom | On Me Not In Me - Signed Print |
Meaning & Analysis
On Me Not In Me is a unique limited edition screen print by Harland Miller, hand-finished with gold leaf and inspired by his ongoing series of appropriating cover designs of second-hand books. This print was released in 2015 in an edition of 50.
The inspiration originates in his iconic Penguin series (2001-), which are based on dust jackets of popular Penguin classics books. Miller subverts the nostalgia and familiarity associated with the universally recognisable cover, as well as the classic literary motifs and sentiments found in titles through “hijacking” the format with his fictitious ones, often provocative and satirical. On Me Not In Me, albeit not one of the Penguin prints is clearly driven by a similar exploration of the relationship between text and image, and Miller’s clever manipulation of the background colours to his words, hereby influencing their meaning and way they will be perceived by the viewer. This way of colour-coding, also inherent to the Penguin Books themselves that are coloured based on genre, is drawing heavily on Mark Rothko and his emblematic Colour Field paintings. Rothko is one of Miller’s main artistic influences, along with Abstract Expressionists such as Robert Rauschenberg and Pop Artist like Ed Ruscha. This screen print’s rich black background decorated with gold-leaf is one of the more sophisticated examples of Miller’s famous book cover pieces, with a punchy juxtaposition of the elegance of the background to the humorous vagueness of the title.
