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Keith Haring

United States (Cutztown 1958 -  New York 1990 ) Wikipedia® : Keith Haring
HARING Keith Untitled

Santa Monica /Nov 20, 2016
1,391.85 - 1,855.80
1,666.16

Find artworks, auction results, sale prices and pictures of Keith Haring at auctions worldwide.
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Artworks in Arcadja
3483

Some works of Keith Haring

Extracted between 3,483 works in the catalog of Arcadja
Keith Haring - Funky Swatch Special Edition

Keith Haring - Funky Swatch Special Edition

Original 1985
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Lot number: 75
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Lot 75: Keith Haring, Funky Swatch Special Edition, Schweiz, 1985-86 Synthetic, acrylic glass, metal Deisgn by Keith Haring (1958-1990) – US-American painter, draftsman and sculptor Models: Modele avec personnages GZ100, Serpent GZ102, Milles Pattes GZ103, Blanc sur Noir GZ104 Strap of the model Serpent GZ102 signed and dated 'K. Haring 86’ Four Swatch wrist watches designed by Keith Haring, each stored in an acrylic glass box Length of the watches: 23 cm each, case diameter: 33 mm each, dimensions of the acrylic glass boxes: 1.6 x 27 x 5.7 cm This Swatch special edition is a series of quartz watches designed by the American artist Keith Haring in 1985. The models were available only in the US and produced in a limited edition of 9.999 numbered pieces. The dial of these watches is fashioned in the typical Keith Haring style, with striking colour contrasts and cartoonish figures. Condition: The watches are in good condition with minor signs of wear. The Acrylic glass boxes with minor signs of use. Keith Haring (1958-1990)Keith Haring was born in Reading, Pennsylvania, and studied graphic art in Pittsburgh. In 1978 he moved to New York, where he visited the School of Visual Arts and was inspired by graffiti writing. He became famous for his chalk drawings on covered billboards in the subways of New York. At this time the Radiant Baby (Baby with an aureole) became his symbol. He participated in the Times Square Exhibition and drew animals and human faces for the first time. In the 1980s, he exhibited at the documenta and started his friendship with Andy Warhol. In 1986, he opened the Pop Shop in Soho. In 1989 he was involved in the wide spread campaign for AIDS prevention and founded the nonprofit Keith Haring Foundation. (ala) Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Keith Haring - Untitled No. 35

Keith Haring - Untitled No. 35

Original 1982
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Lot number: 1003
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Keith Haring (Kutztown 1958–1990 New York) Untitled no. 35 (Escalation), 1982, inscribed 28 SC Lexington July 24/82, white chalk and black paper mounted on canvas, 100 x 100 cm, framed Photo certificate: Galleria Giulia Arte Contemporanea, Rome and Paolo Buggiani Provenance: Paolo Buggiani Collection Galleria Giulia Arte Contemporanea, Rome European Private Collection Exhibited: Milan, Keith Haring. Subway Drawings e la New York Street Art, La Posteria, 17 October-30 November 1997, exh. cat. p. 24 with ill. Bolzano, Keith Haring. Subway Drawings, Galleria d’’’’’’’’Arte Les Chances de l’’’’’’’’Art,1998, exh. cat. p. 19 with ill. and cover image Note: The work is depicted in a picture of the New York subway: it was part of a larger drawing subsequently divided in two parts.
Keith Haring - American Music Festival New York 1988

Keith Haring - American Music Festival New York 1988

Original -
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Lot number: 466
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Keith Haring (1858-1990) École américaine Estampes, affiches d'exposition ou festival en couleurs (lot de trois): "American Music Festival New York 1988", "If you wan to see more …New York 1984" et "Club DV8 San Francisco 1987". Mention imprimée: K. Haring avec copyright. Dimensions : Image 25,5 x 39, 45 x 29 et 45 x 37,5 cm
Keith Haring - Untitled

Keith Haring - Untitled

Original 1987
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Lot number: 30
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Description: Keith Haring (1958-1990) ᅠ Untitled (Dancing Man), 1987 Ink on denim bag in plexiglas box Signed and dated in ink on recto Bag size: 9.5 x 10 inches; Image size: 4 x 2 inches; Plexi box: 20.25 x 15.25 x 3.25 inches Provenance: Doyle Auctions, NY; Creighton-Davis Gallery, McLean, VA Categories:
Keith Haring - Untitled

Keith Haring - Untitled

Original 1990
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Lot number: 204
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Keith Haring UNTITLED 1958 - 1990 signed and dated Jan-90 Paris on the overlap; signed and dated Jan-90 Paris on the stretcher acrylic on canvas 40 by 40 in. 101.6 by 101.6 cm. Provenance Collection Groenige, Belgium Private Collection, Brussels (acquired from the above) Thence by decent to the present owner Exhibited Paris, Centre Wallonie-Bruxelles; Le Crac de Valence, Les Premiers et Les Derniers: Confrontations d'art Africain et Océanien à l'art Contemporain dans les Collections Belges, July 2000 - January 2001 Literature Danièle Gillemon, "Faux ou vrais frères?," Le Soir, 19 July 2000, illustrated "Premiers d'Avant-Garde," France TGV, July 2000, illustrated Catalogue Note Keith Haring’’’’’’’’s Untitled from 1983 showcases the artist’’’’’’’’s propensity for conveying pulsating movement through forms distilled to their most basic, essential components. Evoking cave painting in its vigorous immediacy and exceptionally poised economy of form, the present work also energetically invokes the unrivaled creative dynamism of New York City graffiti culture of the 1980s. As scholar and curator Gianni Mercurio writes, “Haring pursued the objectives he had set himself with resolve; on the artistic plane, he worked towards the reduction of forms and concepts to the primary elements of line and aspired to a hybrid of painting and writing. Adopting a system of expression inspired in part by Egyptian hieroglyphics and Japanese, Chinese, or Mayan pictograms, he developed a means of formal communication” (Gianni Mercurio and Julia Gruen, The Keith Haring Show, Milan 2006, pp. 26-27). The present work evidences a graphic symmetry and kinetic gestural motion that has clearly been influenced by these aforementioned pictograms. In Untitled the artist employed his instantly recognizable, culturally pervasive pictorial language of bold contoured lines and exuberantly peripatetic stick figures. Two alien arms extend from the central figure, pushing away two of the characters. An itineration of the same, smaller figures pull at the half empty alien head at the center of the canvas—seemingly trying to tear it apart. These figures seem to be fighting against the more human figures, a narrative that is conveyed forcefully with limited color and absolutely no shading. Haring was influenced by graffiti art; however he boldly departs from the egotistical tag-culture employing a very clean, organized composition in the present work. A viewer experiences Haring’’’’’’’’s desire to remove his work from the mundaneness of everyday life and add fantastical elements into his practice: “For Haring, painting was an experience that at its best allowed him to transcend reality, to go somewhere else, completely outside his own ego and self. This was a radically different experience from the one that lay behind the culture of the tag, which entailed a monotonous affirmation of writer’’’’’’’’s ego, traced in clearly visible letters in every corner of the metropolis” (ibid., p. 19). In Untitled, Haring depicts two extraterrestrial figures with eyes marked with bright red X’’’’’’’’s in place of eyes. The red-crosses in the canvas rematerializes in Haring’’’’’’’’s quintessential social advocacy graphics, from his anti-apartheid “Free South Africa” poster to the epochal “Act Up” AIDS activism images that are seared into the communal memory—one of the most potent symbols of Haring’’’’’’’’s unrelenting public iconicity. As storied gallerist and unwavering proponent of the artist, Tony Shafrazi noted, “To understand and appreciate Keith Haring, it is important to recognize what was central to his driving force: the absolutely fearless and unabashedly shameless desire to run out and embrace the real world, while transgressing and crossing over boundaries and barriers of race and culture, and while experiencing and transporting the simple truths of innocence, love and friendship, upholding and expressing values and ethics that live forever in the heart of youth.” One of the most celebrated artists working in New York during the 1980s, Keith Haring tapped into the zeitgeist of this vibrant decade, a period in which music and art flourished within a culture of conspicuous consumption, yet which was also overshadowed by the horrors of AIDS and drug abuse. Executed in a pared-down palette within a perfect square, the iconicity of Untitled reinforces the energy within the scene. Untitled is at once lyrical and balanced, and is reflective of Haring’’’’’’’’ most beloved compositions.
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