Diva (red)
Diva (red)
Signed Print
Stik
£13,000-£19,000
$25,000-$35,000 Value Indicator
$22,000-$30,000 Value Indicator
¥120,000-¥170,000 Value Indicator
€15,000-€22,000 Value Indicator
$130,000-$190,000 Value Indicator
¥2,470,000-¥3,620,000 Value Indicator
$16,000-$24,000 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: 2009
Size: H 106cm x W 34cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2023 | Tate Ward Auctions - United Kingdom | Diva (red) - Signed Print | |||
| September 2022 | Christie's London - United Kingdom | Diva (red) - Signed Print | |||
| March 2022 | Christie's London - United Kingdom | Diva (red) - Signed Print | |||
| September 2019 | Christie's London - United Kingdom | Diva (red) - Signed Print | |||
| October 2016 | Christie's London - United Kingdom | Diva (red) - Signed Print |
Meaning & Analysis
Diva is a signed screen print by enigmatic street artist, Stik. Released in 2009 in an edition of 50, this print presents a stickman drawn in thick black lines against a red background. The figure is seen looking back over their shoulder whilst slightly hunched.
This print’s title hints at the concern with gender that is omnipresent in the artist’s work. Stik’s answer to questions regarding the gender of his figures is straightforward: “They are androgynous. They are what you decide they are and they can transcend gender”
The artist’s ability to use line sparingly to convey the unique shapes of the human body is used to full effect here as the figure radiates trepidation and reluctance. In the preface to Stik’s 2016, Anthony Haden-Guest writes that ‘they can bring Keith Haring to mind, or a mainstream Modernist like Léger, but actually he is channelling way earlier sources, like the figures cut into the white chalk hills in England’s West Country or the Naza Lines in Peru’. Stik’s barebone use of line defies analogy with his contemporaries, tapping into a time-honoured tradition of line drawing as a record of human presence articulating that “we are still here.”