Stones 4
Stones 4
Signed Print
Keith Haring
£15,000-£23,000
$29,000-$45,000 Value Indicator
$26,000-$40,000 Value Indicator
¥140,000-¥210,000 Value Indicator
€18,000-€27,000 Value Indicator
$150,000-$230,000 Value Indicator
¥3,120,000-¥4,780,000 Value Indicator
$19,000-$30,000 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: 60
Year: 1989
Size: H 54cm x W 36cm
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 |
|---|---|---|---|---|---|
| April 2017 | Christie's New York - United States | Stones 4 - Signed Print |
Meaning & Analysis
This signed lithography from 1989 is a limited edition of 60 from Keith Haring’s Stones series. Stones 4 shows a frame densely filled with bodies that seem to be growing from each other, out of two central trunks or stems. Figures are duplicated many times like Russian dolls, emerging out of each other with Haring’s characteristic energy and playfulness in a work that is evocative of his prolific output at this point in his life.
Writing of Keith Haring in the catalogue for the artist’s retrospective at the Whitney Museum of American Art in 1997, David Ross states that‘His use of simplified figurative abstract forms and his highly graphic style gave his works an immediate character, the complexity of his puzzlelike constructions pulled the viewer deeply into a unique picture space. Haring’s art radiated energy and he carefully directed that energy beyond the confines of the art world.’ This is evident in the Stones series, a suite of five prints in black and white that recall Haring’s early days spent drawing in white chalk on the empty advertising panels of the New York subway system.
Though there are countless examples of Haring’s screen prints on the market, his lithographs are rarer. Haring produced many large editions throughout his career, but each is characterised by the careful precision and vibrancy of the one that comes before it, demonstrating his mastery of the process.
