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Hollyweed (brown) - Signed Print by Invader 2018 - MyArtBroker

Hollyweed (brown)
Signed Print

Invader

£3,800-£5,500Value Indicator

$8,000-$11,500 Value Indicator

$7,000-$10,000 Value Indicator

¥35,000-¥50,000 Value Indicator

€4,450-€6,500 Value Indicator

$40,000-$60,000 Value Indicator

¥720,000-¥1,050,000 Value Indicator

$5,000-$7,500 Value Indicator

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55 x 42cm, Edition of 100, Screenprint

Medium: Screenprint

Edition size: 100

Year: 2018

Size: H 55cm x W 42cm

Signed: Yes

Format: Signed Print

Last Auction: June 2022

Value Trend:

-2% AAGR

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

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
June 2022
Phillips London
United Kingdom
N/A
N/A
N/A
October 2021
Digard
France
October 2021
SBI Art Auction
Japan
MyPortfolio
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Track auction value trend

The value of Invader’s Hollyweed (brown) (signed) is estimated to be worth between £3,800 and £5,500. This screenprint has shown consistent value growth since its first sale in October 2021, with an average annual growth rate of 4%. This work is part of a limited edition of 100 and has an auction history of three total sales. In the last 12 months, the hammer price has ranged from £4,393 in October 2021 to £6,408 in October 2021. The average return to the seller is £4,618.

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Meaning & Analysis

The print was produced in honour of Invader’s largest solo exhibition in North America, Into The White Cube, held at Over the Influence in Los Angeles. In its simple portrayal of a plant, the Hollywood series is reminiscent of earlier public pieces produced by Invader in 2016 for his twelfth invasion of London, which he called God Save The Space Invaders. There, Invader similarly represented plants and flowers which merged within the dynamic British urban landscape.

The print responds to its patronage by quoting the famous American landmark, the Hollywood sign, which Invader had previously tagged in several invasion waves. Thus, even if produced for a private setting, the Hollyweed print showcases the extent to which Invader always inscribes his works within an understanding of the city they are situated in. This shows that Invader necessarily thinks of both of his private and public works as inherently connected, responding to one another as well as to the urban and cultural environment of the cities they are placed within.

Thus, despite what might seem like a heterogeneous body of works, a closer analysis of Invader’s artistic practice uncovers the connections and histories binding each artwork to the other ones through hidden-at-first thematic files rouges.