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Versailles (blue) - Signed Print by Invader 2018 - MyArtBroker

Versailles (blue)
Signed Print

Invader

£2,250-£3,400Value Indicator

$4,700-$7,000 Value Indicator

$4,200-$6,500 Value Indicator

¥22,000-¥35,000 Value Indicator

€2,650-€4,050 Value Indicator

$24,000-$35,000 Value Indicator

¥430,000-¥660,000 Value Indicator

$3,050-$4,550 Value Indicator

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55 x 50cm, Edition of 100, Screenprint

Medium: Screenprint

Edition size: 100

Year: 2018

Size: H 55cm x W 50cm

Signed: Yes

Format: Signed Print

Last Auction: January 2025

Value Trend:

-6% 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
January 2025
SBI Art Auction
Japan
N/A
N/A
N/A
July 2024
SBI Art Auction
Japan
November 2022
Digard
France
July 2021
Christie's New York
United States
December 2020
Aguttes, Paris
France
December 2020
Aguttes, Paris
France
December 2019
Tate Ward Auctions
United Kingdom
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Track auction value trend

The value of Invader's Versailles (blue) (signed) is estimated to be worth between £2,250 and £3,350. Over the past five years, the hammer price ranges from £1,554 in July 2024 to £4,727 in July 2021. This screenprint has shown consistent value growth, with an average annual growth rate of 4%. This work has an auction history of five total sales since its initial sale in December 2019. The edition size of this artwork is limited to 100.

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Meaning & Analysis

Available also in black, this signed print was produced in conjunction with Invader’s largest solo exhibition, Into The White Cube, held at Over the Influence in Los Angeles. For the exhibition, which offered a retrospective of Invader’s practice of over two decades, Invader decided to produce an entirely new array of his world-famous pixelated images, which he then made available to purchase as prints.

Here, Invader evokes the incredible flair of the Hall of Mirrors in the Palace of Versailles. While this is the first time Invader references the French city within an exhibition, Invader’s love for Versailles, and all that it represents in art history, is epitomised by the multiple and repeated waves of invasion the artist enacted: at the moment, the city holds more than 42 public artworks and has been invaded over twelve times.

Thus, even if exhibited in the United States, these mirrors cross and overcome geographical boundaries and distances to stage a dialogue between Invader’s public project of Invasion of Versailles and his more private and commercially available practice. The print thus speaks to Invader’s desire to engage with urban and art historical landmarks, thus placing his artworks within a broader art historical genealogy.