Bromeliad
Bromeliad
Signed Print
Jonas Wood
£2,950-£4,400
$6,000-$8,500 Value Indicator
$5,500-$8,000 Value Indicator
¥27,000-¥40,000 Value Indicator
€3,550-€5,500 Value Indicator
$30,000-$45,000 Value Indicator
¥570,000-¥860,000 Value Indicator
$3,850-$5,500 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: Screenprint
Edition size: 200
Year: 2020
Size: H 71cm x W 58cm
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 | Phillips New York | United States | |||
| March 2023 | Christie's Amsterdam | Netherlands | |||
| March 2022 | Sotheby's Hong Kong | Hong Kong | |||
| January 2022 | SBI Art Auction | Japan | |||
| November 2021 | Bonhams New York | United States | |||
| January 2021 | SBI Art Auction | Japan | |||
| January 2021 | Phillips London | United Kingdom |
Meaning & Analysis
Bromeliad (2020) is a signed screen print by Jonas Wood showing how the artist translates the three-dimensional world around him into simple yet captivating flat forms. Released in an edition of 200, the print depicts the tropical plant whose spiky leaves rendered in dark shades of green and purple sprawl across the plain beige background. A blooming flower appears at the centre of the print protruding from among the mass of lush leaves.
As an example of a classic modern figurative subject matter, the bromeliad in the print affirms Wood’s relationship with the rich lineage of artists including Henri Matisse and David Hockney. Similarly to Matisse’s Still Life With Shell (1940) and Hockney’s Four Flowers In Still Life (1990), Bromeliad represents Wood’s reimagining of the fabric of everyday life through bold colours, shapes, and dimensions. The artist commented in the context of the subject matter of his artworks: "You could call [my work] a visual diary or even a personal history. I’m not going to paint something that doesn’t have anything to do with me. Of all of the possible things I could paint, the thing that interests me is something that I can get close enough to in order to paint it honestly."