Stik (b. 1979), Rough Sleeper (maquette), 2009. Emulsion and acrylic on plywood. 555 x 910 x 65mm (frame). Estimate £30,000-50,000. Offered in Prints & Multiples on 18 September 2019 at

Collecting Guide: 5 things to know about Street Art

Christie’s specialists discuss Keith Haring, Banksy, Stik and other artists who are bringing the street into the home

The 21st century has seen an urban liberation of art media, pushing through the conventional parameters of paper, cardboard and canvas and on to pavement, sidewalks, subways and the bricks of buildings. As the personification of movement, freedom and spontaneity, Street Art has taken centre stage, both literally in scale and visibility and in its burgeoning popularity.

Since the hip-hop crews of Philadelphia and New York turned graffiti into an elaborate language, encrypted in a range of unique styles, Street Art has become an established art form. While its very public presence may scream manifesto, perhaps with subversive intent, Street Art nonetheless promotes a sense of the uncompromising, a radical ethos that consistently attracts clusters of fervent supporters throughout the world. However, not until recently has there been such interest in the genre.

Banksy (b. 1975), Flying Copper, 2004. Screenprint in colours on wove paper. Signed and dated in pencil, numbered 112150. Sheet 988 x 690 mm. Sold for £40,000, 14-26 September 2018, Online

Banksy (b. 1975), Flying Copper, 2004. Screenprint in colours on wove paper. Signed and dated in pencil, numbered 112/150. Sheet 988 x 690 mm. Sold for £40,000, 14-26 September 2018, Online

Works from the masterful integrators of popular culture, Abstract and Neo-Expressionism — Keith Haring, Jean-Michel Basquiat, Banksy, Mr BRAINWASH and Stik, to name but a few — now are in high demand. Since Shepard Fairey’s iconic ‘Hope’ poster from 2008 and the groundbreaking show on the international history of graffiti and Street Art at MoCA in 2011, Street Art’s popularity has skyrocketed, evidenced by record-breaking sales in recent years.

CRASH (b. 1961), Untitled, executed in 1998. Acrylic and silkscreen ink on canvas. 9⅞ x 8⅛ in (25 x 20.5 cm). Estimate £800-1,200. Offered in 
First Open  Online, 11-19 September 2019, Online

CRASH (b. 1961), Untitled, executed in 1998. Acrylic and silkscreen ink on canvas. 9⅞ x 8⅛ in (25 x 20.5 cm). Estimate: £800-1,200. Offered in First Open | Online, 11-19 September 2019, Online

Here, Prints and Multiples specialists Charles Scott and James Baskerville offer guidance for the emerging collector.

1. Familiarise yourself with common themes

Keith Haring (1958-1990), Retrospect, 1989. Screenprint in colours on thick wove paper. Signed and dated in pencil, numbered 3675. Image 1035 x 1950 mm, sheet 1160 x 2080 mm. Estimate £150,000-250,000. Offered in Prints & Multiples on 18 September 2019 at Christie’s in London

Keith Haring (1958-1990), Retrospect, 1989. Screenprint in colours on thick wove paper. Signed and dated in pencil, numbered 36/75. Image 1035 x 1950 mm, sheet 1160 x 2080 mm. Estimate: £150,000-250,000. Offered in Prints & Multiples on 18 September 2019 at Christie’s in London

Street artists often revisit a theme or rely on a repeated technique in their work, creating a recognisable trademark that forms an essential part of their visual vocabulary. Haring developed his man figure; Jean-Michel Basquiat combined symbols and epigrams; and Banksy fashions irreverent, politically-charged subjects. 

Stik continues to hone his six-line, two-dot figures, and as this imagery becomes increasingly iconic, the market takes notice: Up on the Roof  achieved £150,000 in the September 2018 Prints and Multiples sale in London, a record price for a work by the artist. 


Stik (b. 1979), Liberty, 2013. Deluxe master set of five screenprints in colours on Somerset wove paper. Each signed in pencil, each numbered AP 45 (the standard edition without the yellow variant was issued in an edition of 25). Images 1060 x 360 mm, sheets 1120 x 410 mm. Estimate £80,000-120,000. Offered in Prints & Multiples on 18 September 2019 at Christie’s in London

Stik (b. 1979), Liberty, 2013. Deluxe master set of five screenprints in colours on Somerset wove paper. Each signed in pencil, each numbered AP 4/5 (the standard edition without the yellow variant was issued in an edition of 25). Images 1060 x 360 mm, sheets 1120 x 410 mm. Estimate: £80,000-120,000. Offered in Prints & Multiples on 18 September 2019 at Christie’s in London

2. Size matters

Some street artworks are site-specific, such as Haring’s infamous ‘Crack Is Wack’, a 1986 public project still visible along the Harlem River Drive in New York City. As a way to represent the whole, a distinct element of the work may be replicated in a more portable form. Haring’s iconic figures and symbols repeat throughout his oeuvre, finding themselves not only on his murals and canvases but also on his screen prints. This is also true for artists such as Stik or Banksy.

3. Imitations are everywhere

Shepard Fairey (b. 1970), Malcolm X, 2006. Screenprint in colours on an aluminium panel mounted on wood. Image 635 x 480 x 35 mm (overall). Estimate £3,000-5,000. Offered in 
Contemporary Edition, 11-25 September 2019, Online

Shepard Fairey (b. 1970), Malcolm X, 2006. Screenprint in colours on an aluminium panel mounted on wood. Image: 635 x 480 x 35 mm (overall). Estimate: £3,000-5,000. Offered in Contemporary Edition, 11-25 September 2019, Online

Street Art can be easily duplicated. As stencils can be used and infinitely reused, the question of originality that plagues all art becomes particularly critical for this genre. Consult a specialist. For prints, it is extremely important that they match the catalogue raisonné for the artist or compare well to other examples from the edition.

When considering value, edition size is also critical. The democratic nature of Street Art means that the number of images produced can be quite large — this is why some Street Art is priced quite low. Works that have hand-additions or that are from a smaller number of productions available are valued considerably higher.

Invader (b. 1969), Rubik Diamond Dogs, executed in 2009. Assembled plastic cubes mounted on Perspex. 44¼ x 44⅛ x 2⅜ in (112.5 x 112.2 x 6 cm). Estimate £20,000-30,000. Offered in 
First Open  Online, 11-19 September 2019, Online

Invader (b. 1969), Rubik Diamond Dogs, executed in 2009. Assembled plastic cubes mounted on Perspex. 44¼ x 44⅛ x 2⅜ in (112.5 x 112.2 x 6 cm). Estimate: £20,000-30,000. Offered in First Open | Online, 11-19 September 2019, Online

4. Consider condition

Street Art is, by its very nature, exposed to the elements more than other kinds of art. Restoration may be possible — some artists, like Stik, make a point of personally touching up their works in situ whenever they can — but some level of wear is to be expected. Collectors should keep in mind that, as with any kind of artwork, condition may impact the perceived value of a piece.

DFace (b. 1978), Ha, Ha, Ha Not So Superman, 2008. Screenprint in colours and etching on wove paper. Signed in felt tip pen, numbered 11, a unique trial proof impression before the edition of 95 (there were also 28 artists proofs), published by Black Rat Press. Image & Sheet 842 x 555 mm. Estimate £800-1,200. Offered in 
Contemporary Edition, 11-25 September 2019, Online

DFace (b. 1978), Ha, Ha, Ha Not So Superman, 2008. Screenprint in colours and etching on wove paper. Signed in felt tip pen, numbered 1/1, a unique trial proof impression before the edition of 95 (there were also 28 artist's proofs), published by Black Rat Press. Image & Sheet 842 x 555 mm. Estimate: £800-1,200. Offered in Contemporary Edition, 11-25 September 2019, Online

5. Know the community

With Street Art being a relatively new movement in art history, it’s important to know what came before in order to understand where it’s going. Most are aware that graffiti – and more specifically, Wild Style – represented the nascent form of Street Art in the 1970s, but Pop Art also paved the way, incorporating many of the same topics for the first time, from mass consumerism to elements of pop culture. Pop Art giant Andy Warhol played mentor to Basquiat; Warhol and Haring were long-time collaborators. Relative newcomers KAWS and Invader have, in many ways, accepted the baton.