Ahava (blue and white)
Ahava (blue and white)
Signed Print
Robert Indiana
£6,000-£9,500
$12,000-$19,000 Value Indicator
$11,000-$17,000 Value Indicator
¥60,000-¥90,000 Value Indicator
€7,000-€11,500 Value Indicator
$60,000-$90,000 Value Indicator
¥1,160,000-¥1,840,000 Value Indicator
$7,500-$12,000 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: 150
Year: 1993
Size: H 95cm x W 90cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Larsen Gallery | United States | ||||
| Larsen Gallery | United States | ||||
| May 2018 | Swann Galleries | United States | |||
| July 2010 | Christie's New York | United States |
Meaning & Analysis
A bold combination of colour and text, this 1993 screen print Ahava (blue and white) embodies the graphic simplicity of Robert Indiana’s iconic style. The Hebrew word for love is rendered in white against an electric blue background. The four characters of the word are arranged to form a square, accentuating the simple geometry of the word. The print is signed by Indiana, from a print run of 150.
This print is a later reformulation of Indiana’s infamous LOVE paintings, first developed by the artist in the 1960s. Selected by the Museum of Modern Art for its Christmas card in 1965, Indiana’s initial LOVE painting quickly became a universally recognised image. For the rest of his career Indiana consistently expanded the series, reworking his basic concept in
different colours, mediums, and languages. This print was created after a monumental steel sculpture by Indiana, in the same four-letter form, made for the Israel Museum in Jerusalem.
Ahava (blue and white) represents the unending relevance of Indiana’s LOVE artworks, which he described as being one-word poems. Through translation across language and media he reaffirmed the universality of love itself, creating, in the words of poet Robert Creeley, “an international sign of transcendent power.”