Lucky Strike (blue)
Lucky Strike (blue)
Signed Print
Keith Haring
£20,000-£30,000
$40,000-$60,000 Value Indicator
$35,000-$60,000 Value Indicator
¥180,000-¥280,000 Value Indicator
€24,000-€35,000 Value Indicator
$200,000-$300,000 Value Indicator
¥3,790,000-¥5,680,000 Value Indicator
$25,000-$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: 50
Year: 1987
Size: H 30cm x W 21cm
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 | Christie's London | United Kingdom | |||
| December 2021 | Bonhams New Bond Street | United Kingdom | |||
| December 2016 | Dorotheum, Vienna | Austria | |||
| July 2014 | Christie's New York | United States | |||
| July 2007 | Christie's London | United Kingdom |
Meaning & Analysis
Lucky Strike is a signed screen print from Keith Haring’s Lucky Strike series (1987), a set of advertising posters for top-selling brand Lucky Strike cigarettes. The Lucky Strike posters are reminiscent of Haring’s popular Montreux posters from 1983 and were commissioned by Lucky Strike Switzerland, arranged by the art consultant Pierre Keller. Haring created nine designs, of which five were selected for the print and three were produced as large edition posters with painted signatures.
Showing a bright orange figure, upside down and in the air, Haring creates an image full of energy and excitement. The packet of Lucky Strike cigarettes remains closed, sitting at the bottom of the image as the central figure dances on top.
This print is rendered in flattened, bright colours of orange, blue, green and red, contoured with thick, bold lines. Haring’s use of simplified form and saturated colours reflect the visual language of consumer culture and mass advertisements, thus elevating this aesthetic to the realm of visual culture. As evidenced by his famous Pop Shop, Haring often conflated high art with commercialism and so claimed to mirror the capitalist world that he lived in.
