Flowers IV
Flowers IV
Signed Print
Keith Haring
£21,000-£30,000
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥200,000-¥280,000 Value Indicator
€25,000-€35,000 Value Indicator
$210,000-$300,000 Value Indicator
¥4,360,000-¥6,230,000 Value Indicator
$27,000-$40,000 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: Screenprint
Edition size: 100
Year: 1990
Size: H 99cm x W 129cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2023 | Bonhams New Bond Street - United Kingdom | Flowers IV - Signed Print | |||
| November 2020 | Rago Arts and Auction Center - United States | Flowers IV - Signed Print | |||
| April 2015 | Christie's New York - United States | Flowers IV - Signed Print | |||
| November 2005 | Christie's New York - United States | Flowers IV - Signed Print |
Meaning & Analysis
This signed screen print from 1990 is a limited edition of 100 from Keith Haring’s Flowers series. Completed the year of his tragic death by AIDS, Flowers IV shows an animated scene of organic figures resembling plants, depicted in saturated colours of red, blue, green, yellow and pink. Haring creates a sense of pattern across the image with his use of gestural lines, dots and concentric circles amidst a multitude of forms.
Acknowledging the legacy of figures like Jackson Pollock and Willem de Kooning from the Abstract Expressionist movement, Haring produces a loosely rendered image and intentionally leaves drip lines and splatter marks across the print. In creating this expressionist image through the medium of screen printing, Haring not only subverts the ideals upheld by the Abstract Expressionists surrounding originality but creates an image that conveys a sense of urgency in its rapid execution and duplication.
Haring’s plant forms in the Flowers series are noticeably phallic as a means to point to the fleeting nature and precariousness of life for homosexual men during the 1980s HIV/AIDS epidemic. In 1990 when this series was completed, Haring knew that he was dying of AIDS and his use of rapid gestural marks makes clear the way in which he was working against time.
