“Broken Window”
"Broken Window"
by Gregory J. Rose
2018, Mixed Media On Panel, 9“x11”, framed
In Private Collection
A compact mixed-media composition built from layered pastel pink, pale blue, gray, and muted red fields, intersected by scraped passages, vertical abrasion, and softened structural breaks. Framed. Certificate of Authenticity included.
Collector Snapshot
Broken Window is a small-format mixed media work that emphasizes fragmentation and surface disruption rather than contrast-heavy massing. The composition feels partially revealed and partially eroded, with overlapping color fields that appear worn back and reasserted multiple times. It operates as a quieter but structurally complex example of Gregory’s 2018 panel work, where texture, abrasion, and incomplete forms carry the visual weight.
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Stable Growth
While this work does not carry exhibition history, it is part of a documented body of 2018 mixed media panels that have demonstrated consistent collector demand and price stability over time. Its confirmed acquisition into a private collection in 2025 supports long-term retention value rather than speculative appreciation, aligning with steady market performance for works of this scale and period.
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One of One Original
This is the only version of this artwork. No editions exist.
This artwork has been acquired and is no longer available.
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Final Sale Price (2025): $200
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Acquired in 2025
This work was purchased in 2025 and placed into a private collection, reflecting active demand for Gregory’s mixed media works.
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Foundational Collector Tier
The scale, pricing, and acquisition context position Broken Window as a foundational entry point into Gregory’s mixed media practice. It represents early collector engagement with his material language while maintaining originality, physical presence, and long-term collectability.
Artwork Details
Full Description
The surface is constructed through layered pastel pink and pale blue areas that are repeatedly scraped, thinned, and interrupted, allowing gray and raw panel tones to surface beneath. Vertical abrasions and irregular breaks suggest structural instability, while muted red accents introduce tension without dominating the composition. The result is a work that feels partially dismantled and reassembled, with its visual rhythm driven by interruption rather than symmetry or balance.
Provenance
Studio Collection
This artwork has never been exhibited and remained in the artist’s studio collection until its acquisition into a private collection.
Market Relevance
Gregory’s market continues to strengthen across exhibitions, public placements, and institutional acquisition. Small-format mixed media works (9”–12”) have achieved documented sales between $100 and $500 across multiple exhibition cycles, reflecting consistent collector demand for intimate compositions within the artist’s broader practice.
Comparable small-scale works demonstrate sustained transactional activity from early institutional placements at $500 (2003) to recent documented sales within the $100–$180 range, reinforcing the stability of this accessible collector tier. “Broken Window” reflects continued demand within this actively collected small-format segment and is now held in a private collection.
Comparable Sales
“Blue Orca” — 12x12 inches, Mixed Media on Panel
Sold for $500 in 2003
“Beach Side Towers” — 9x11 inches, Mixed Media on Panel
Sold for $180 in 2024
“Broken Window” — 9x11 inches, Mixed Media on Panel
Sold for $100 in 2024
Artist Market Position
Gregory’s market position continues to be reinforced through steady placement of early mixed media works into private collections. Broken Window contributes to this pattern by demonstrating that collector demand extends beyond exhibited works to include studio-era panels that clearly articulate his material approach and compositional discipline.
Price Growth of Mixed Media Works
“Broken Window operates through erosion rather than assertion.
Instead of presenting a dominant visual anchor, the work allows scraped passages, softened edges, and interrupted fields to define its structure. The pastel tones function as residual layers rather than statements, reinforcing the sense that the image has been worn into place. As a privately collected 2018 panel, it stands as a materially honest example of Gregory’s process during a period where surface and structure were inseparable concerns.”
— Curatorial Commentary
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