The World's Largest Modern & Contemporary Prints & Editions Platform
Aladdin Sane (gold) - Signed Print by Invader 2014 - MyArtBroker

Aladdin Sane (gold)
Signed Print

Invader

£7,000-£11,000Value Indicator

$14,500-$23,000 Value Indicator

$13,000-$20,000 Value Indicator

¥70,000-¥110,000 Value Indicator

8,500-13,000 Value Indicator

$70,000-$110,000 Value Indicator

¥1,350,000-¥2,130,000 Value Indicator

$9,500-$14,500 Value Indicator

-7% AAGR

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: 30

Year: 2014

Size: H 45cm x W 43cm

Signed: Yes

Format: Signed Print

TradingFloor

2 in network
4 want this
Find out how Buying or Selling works.
Track this artwork in realtime

Watch artwork, manage valuations, track your portfolio and return against your collection

Track auction value trend

Invader's Aladdin Sane (gold) from 2014 is a signed screenprint with an estimated value of £7,000 to £11,000. This artwork has shown consistent value growth since its first sale in December 2018. The edition size of this artwork is limited to 30.

Unlock up-to-the-minute market data on Invader's Aladdin Sane (gold), login or create a free account today

Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
March 2023Tate Ward Auctions United Kingdom
December 2018Chiswick Auctions United Kingdom

Meaning & Analysis

David Bowie is here referenced in his unarguably most famous representation, his Aladdin Sane album cover shot by Brian Duffy. The bright red and blue lightning bolt crossing the Space Invader’s bright orange face instantly identifies and pays homage to what became Bowie’s most iconic  representation, to the point that Aladdin Sane’s cover was named the ‘Mona Lisa’ of album covers.

The small print, offered in five different versions (Pinky, Blue, Yellow and Orange) with a variation on the base colour of the figure, demonstrates Invader’s engagement with modern icons, in a statement that will certainly remind the viewer of Andy Warhol’s Marilyn series or Keith Haring’s Icon series. Much like his predecessors, in these prints Invader coalesces together his interest for digital and pixelated aesthetics, which he takes as epitomes of the contemporary way of being in the world, and the world of the 1980s pop music.

An interesting and certainly unique series, the Aladdin Sane prints speak to Invader’s necessity to surprise the viewer with always new, unexpected artworks, leading the audience to ask themselves which popular icon will be next in Invader’s pixelated appropriations.