Ludo 4
Ludo 4
Signed Print
Keith Haring
£9,500-£14,500
$18,000-$28,000 Value Indicator
$16,000-$25,000 Value Indicator
¥90,000-¥130,000 Value Indicator
€11,000-€17,000 Value Indicator
$90,000-$140,000 Value Indicator
¥1,850,000-¥2,830,000 Value Indicator
$12,000-$18,000 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: Lithograph
Edition size: 90
Year: 1985
Size: H 66cm x W 48cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2012 | Christie's London - United Kingdom | Ludo 4 - Signed Print | |||
| November 2008 | Bonhams San Francisco - United States | Ludo 4 - Signed Print | |||
| June 2003 | Christie's Paris - France | Ludo 4 - Signed Print | |||
| May 1991 | Christie's Amsterdam - Netherlands | Ludo 4 - Signed Print |
Meaning & Analysis
This signed lithograph from 1985 is a limited edition of 90 from Keith Haring’s Ludo series. Ludo 4 shows an abstract monstrous figure rendered in bold, black lines and a frenzy of red dots and squiggly designs. The figure is shown with two eyes, phallic arms, a snout and teeth, with liquid exploding upwards from its mouth.
Reminiscent of Haring’s Apocalypse series from 1988, this series provides the viewer with a hellish visual narrative showing eyes, limbs and other body parts in abstracted forms. Depicted in bold lines, gestural marks and bright red colour, Ludo 4 is a dynamic image that evokes a sense of chaos and violence. Indeed, the Ludo series marks a moment of transition for Haring. As the AIDS epidemic overtook his community in the mid-1980s, Haring’s artwork reflected his increasing involvement in advocacy for the disease.
Ludo 4 is indicative of the way in which Haring conveys complex ideas whilst maintaining a simplicity in line and form that appeals to a wide audience. In his use of simplified form and recognisable symbols throughout his work, Haring produces a true public art that communicates clear-cut narrative views on socio-political injustices of the time. Just as his good friend Jean-Michel Basquiat had done before him, Haring used his unique graffiti style to erode boundaries between the public and the world of high art.
