Chocolate Buddha 5
Chocolate Buddha 5
Signed Print
Keith Haring
£10,000-£20,000
$19,000-$40,000 Value Indicator
$17,000-$35,000 Value Indicator
¥90,000-¥170,000 Value Indicator
€11,500-€23,000 Value Indicator
$100,000-$200,000 Value Indicator
¥1,670,000-¥3,340,000 Value Indicator
$12,500-$25,000 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: 90
Year: 1989
Size: H 56cm x W 71cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Bonhams Los Angeles - United States | Chocolate Buddha 5 - Signed Print | |||
| October 2018 | Phillips New York - United States | Chocolate Buddha 5 - Signed Print | |||
| June 1995 | Christie's Amsterdam - Netherlands | Chocolate Buddha 5 - Signed Print |
Meaning & Analysis
This signed lithograph from 1989 is a limited edition of 90 from Keith Haring’s Chocolate Buddha series. Chocolate Buddha 5 is a print that focuses on intertwined form and fluid pattern. This print shows a multitude of figures, interconnected and flowing into one another to create a pattern of amorphous bodies. Haring uses bold dark outlines in this print and loosely rendered blue lines to fill out the shapes.
Much like Haring’s Growing series, Chocolate Buddha 5 shows a number of figures in a complex interconnected system, to underline the idea that working together and forming community can be more powerful than working alone. Haring’s use of fluid, organic shapes against the gestural blue lines across the image create a print that is bursting with energy and vigour.
Chocolate Buddha 5 is typical of Haring’s later works that continued to use simplified forms but in far more complex and abstract compositions. There is a level of symmetry used in this print across the vertical axis that allows the viewer’s eye to fluidly follow the multitude of forms across the image surface. In this focus on pattern over realism with his use of fluid and gestural line, Haring creates a rhythmic composition that seemingly moves on the canvas.
