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Apocalypse 4 - Signed Print by Keith Haring 1988 - MyArtBroker

Apocalypse 4
Signed Print

Keith Haring

£6,000-£9,000Value Indicator

$12,000-$18,000 Value Indicator

$10,500-$16,000 Value Indicator

¥60,000-¥80,000 Value Indicator

7,000-11,000 Value Indicator

$60,000-$90,000 Value Indicator

¥1,150,000-¥1,720,000 Value Indicator

$7,500-$11,500 Value Indicator

-3% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Screenprint

Edition size: 90

Year: 1988

Size: H 97cm x W 97cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Keith Haring’s Apocalypse 4 (signed) is estimated to be worth between £6,000 and £9,000. This screenprint, created in 1988, has shown consistent value growth over the past five years. There have been 9 total sales since its entry to the market in December 2001. In the last 12 months, the average selling price was £5,052 across 1 total sale. Over the past five years, the hammer price has ranged from £5,052 in December 2024 to £9,575 in September 2023. The average annual growth rate of this work is -3%. The edition size of this artwork is limited to 90.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
December 2024Karl & Faber Germany
September 2023Sotheby's London United Kingdom
May 2023Uppsala Auktionskammare Sweden
March 2023Sotheby's Online United Kingdom
July 2021Dorotheum, Vienna Austria
August 2020Forum Auctions London United Kingdom
November 2018Bonhams New York United States

Meaning & Analysis

Apocalypse 4 is one of the more unusual prints from Haring’s Apocalypse series featuring a troublesome half-human, half-monster as its central subject. Haring uses collage to embed a 19th century portrait of Saint Fabiola into the print and form the head of this grotesque creature. Fabiola was a nurse and Roman matron who renounced all earthly pleasures to devote her immense wealth to helping the poor and sick. Apocalypse 4 is exemplary of the way Haring appropriates historical imagery and high culture to provoke dialogue on crucial social issues of his lifetime, in this case the 1980s AIDS crisis.

Fabiola is depicted by Haring as a maternal figure with multiple breasts, nursing a misshapen and unsightly baby. It is uncertain as to whether the central figure is attempting to help the sick, those suffering from AIDS related illnesses, or whether she is perpetuating the surrounding chaos. The ‘devil sperm’ motif appears, swimming out of Fabiola’s mouth, thus alluding that she too has been reduced by the disease.

Two of Haring’s most cited works of influence, Dante’s Inferno and Hieronymus Bosch’s The Garden of Earthly Delights, come to the forefront in this image. A ravaged cityscape looms over the top of the print and falls down a funnel rendered in thick, dark ink. Hideously deformed beasts populate the scene and a group of human figures in Fabiola’s monstrous hand are being tortured. Dante and Bosch’s works are famous for their moralistic tone and Haring is citing these works, in his distinct cynical approach, to present a dire warning on the perils of sexual joy.

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