Ludo 4
Ludo 4
Signed Print
Keith Haring
£7,000-£10,000 VALUE (EST.)
$13,500-$19,000 VALUE (EST.)
$11,500-$17,000 VALUE (EST.)
¥60,000-¥90,000 VALUE (EST.)
€8,000-€11,500 VALUE (EST.)
$70,000-$100,000 VALUE (EST.)
¥1,270,000-¥1,820,000 VALUE (EST.)
$8,500-$12,000 VALUE (EST.)
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.
Lithograph, 1985
Signed Print Edition of 90
H 66cm x W 48cm
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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.
