An 8.67 from the panel, and Reynolds is selling it as a poster.
That is deliberate underpricing
The Shard is a marquee subject. The execution is clean—hard vector edges holding a saturated pour that does not bleed or fuzz. The burst reads from across a room. This scores higher than half his catalogue, and he is pricing it at the entry tier.
Reynolds does this when he wants volume. He knows a recognizable London icon with a colour detonation at its tip will move faster than his abstract work, so he prices it to be the first purchase someone makes. It works. You get an 8+ piece at poster cost, and he gets a collector who comes back for the next one.
The number that matters is 24 by 36 inches
That is the largest poster size, and it is where this piece works. Smaller and the burst loses its punch. The geometry needs scale to hold the chaos, and at 24 by 36 the tip of the Shard genuinely ignites. At 12 by 18 it looks like a printing error.
If you want it on canvas, wait. Reynolds will reissue marquee subjects at canvas scale when the posters move, and you will pay the canvas premium then. But the poster at full size is the buy today.
Buy at 24 by 36
This is the price floor for a Reynolds above an 8.5. The subject is accessible, the colour is legible, the score is a fact. If you have been watching his work and waiting for an entry point, this is it. See sizing and pricing here. Ships free in the continental US.
Matte fine art poster, in 3 sizes — 14×11, 20×16, 24×18 in. Ships free within the continental US.
