Standing Figure (blue)
Standing Figure (blue)
Signed Print
Stik
£800-£1,200
$1,650-$2,500 Value Indicator
$1,500-$2,250 Value Indicator
¥7,500-¥11,500 Value Indicator
€950-€1,450 Value Indicator
$8,500-$12,500 Value Indicator
¥160,000-¥230,000 Value Indicator
$1,050-$1,600 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
Year: 2015
Size: H 76cm x W 24cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2023 | Tate Ward Auctions | United Kingdom | |||
| May 2023 | Chiswick Auctions | United Kingdom | |||
| February 2023 | Tate Ward Auctions | United Kingdom | |||
| March 2021 | Chiswick Auctions | United Kingdom | |||
| November 2020 | Tate Ward Auctions | United Kingdom | |||
| August 2020 | Tate Ward Auctions | United Kingdom | |||
| February 2020 | Forum Auctions London | United Kingdom |
Meaning & Analysis
Standing Figure is a signed offset lithograph printed in blue which was produced in 2015. In this piece, the artist’s six-line stickman stands at a slight angle, glancing apprehensively to the left.
Released in combination with his coffee table book, published in 2015, Standing Figure features a lone stickman: a common motif in the Stik oeuvre. The image recalls The Big Issue, but here the lines are thicker, shorter and the eyes are wider. While similar images are revisited repeatedly by Stik, there is constant development in his practice, in line with the changing urban milieu which is often the setting for his work. This is an idea explored in his exhibition and print series entitled Walk.
Standing Figure is a remarkable example of Stik’s compression of the complexities of the human frame into a drawing composed of six lines. Its inclusion as a pull-out in his retrospective book is particularly apt as testament to the origins of his practice. He has noted that “when I started painting in the street I soon found out that using just six lines and two dots was the quickest way to paint a human figure”. The primarily practical reasoning for his signature style makes its singularly rich communication of feelings of isolation and hopelessness no less potent.
