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Keith Haring

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

Palais Dorotheum
May 17, 2018
Find artworks, auction results, sale prices and pictures of Keith Haring at auctions worldwide.
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Artworks in Arcadja
4128

Some works of Keith Haring

Extracted between 4,128 works in the catalog of Arcadja
Keith Haring - Little Man, Big Fish

Keith Haring - Little Man, Big Fish

Original 1987
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Lot number: 495
Other WORKS AT AUCTION
Description:
Keith Haring (United States / 1958 - 1990) Little man, big fish (1987) Sumi ink and gouache on paper - Sig. on the reverse "(C)(+) K. Haring 1987 July 7" - 35 x 51,5 cm Remarks On Tuesday the 7th of July Keith Haring wrote in his diary: "I'm working on 10 drawings in ink and gouache. All the drawings at the Casino are sold, I'm working on some new ones so i do not fall short on supply. They convince me to make 2 smaller paintings. I get somewhat tired having to work all of the time. But in some way I find the result always interesting if I push myself. So it's hard not be curious about the result once I have started working." With photo certificate by the artist Provenance The work was purchased by the previous owner at the exhibition "Keith Haring" at the Casino in Knokke in 1987.
Keith Haring - Untitled

Keith Haring - Untitled

Original 1984
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Lot number: 872
Other WORKS AT AUCTION
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Keith Haring (1958-1990) Untitled acrylic on canvas 92 ¾ x 158 ¾ in. (235.6 x 403.2 cm.) Executed in 1984. This work is accompanied by a certificate of authenticity issued by The Estate of Keith Haring. Provenance Private collection, New York Anon. sale; Christie's, New York, 17 May 2007, lot 418 Private collection, Los Angeles Anon. sale; Phillips de Pury & Company, London, 29 February 2008, lot 414 Galerie Rive Gauche, Paris Acquired from the above by the present owner
Keith Haring - Pyramid

Keith Haring - Pyramid

Original 1989
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Lot number: 324
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Description:
Keith Haring (Kutztown 1958–1990 New York) Pyramid, 1989, signed, dated and with the artist\‘s signet on the reverse K. Haring 89 (stamped and embossed), coloured silkscreen on anodized aluminum, ex. P. P. beside the edition of 30, 102.8x144.8cm, published by Editions Schellmann, Munich, New York (stamp), framed in plexiglass box Literature: See: Jörg Schellmann (ed.), Fourty are better than one, Edition Schellmann 1969-2009, Ostfildern 2009, p.146f, no. 20 (ill. another copy) Keith Haring published his pyramids 1989 the year before his death in 1990. The rare screenprints on anodized aluminium feature dozens of his iconic characters dancing in a celebration of life all over the pyramid. Arranged within the large pyramidal form the exuberant figures are rendered in bright blue or yellow against a rich yellow/ gold or blue background. In Keith Haring\’s work the pyramid was a common theme, that refers simultaneously to the antiquity and symbolizes the eternity.
Keith Haring - Inflatable Baby

Keith Haring - Inflatable Baby

Original 1992
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Lot number: 824
Other WORKS AT AUCTION
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'Inflatable Baby', (1985) 1992 Description: Keith Haring (Reading, PA, 1958 - 1990 New York City) , Blow-up vinyl multiple in box. 18.5 x 22.5 x 5.0 cm (box), marked: printed in Taiwan, Vinyl-Baby: 18. Juni 1992 0.55 H. 3.550 Gr. Ferdinand Ricardo, Ariane u. Ferdinand Piech Stuttgart. Presumably in the event of the birth of Ferdinand Piech's son.
Keith Haring - Healing Hand

Keith Haring - Healing Hand

Original 1988
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Lot number: 179
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Description:
HEALING HAND Keith Haring 1958 - 1990 acrylic on canvas 120 by 120 by 3 7/8 in. 304.8 by 304.8 by 9.8 cm. Executed in 1988. Tony Shafrazi Gallery, New York Collection of Fredrik Roos, Stockholm Christie's, New York, 23 February 1994, Lot 144 Acquired from the above sale by the present owner Exhibited New York, Tony Shafrazi Gallery,Keith Haring, December 1988 - January 1989 Catalogue Note \“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 simples truths of innocence, love, friendship, upholding and expressing values and ethics that live forever in the heart of youth.\” Tony Shafrazi, \“Keith Haring. A Great Artist, A True Friend,\” in Exh. Cat., The Keith Haring Show, Milan 2005, p. 72 Executed in the most intensely political period in Keith Haring\’s meteoric career, Healing Handis a consummate example of the artist\’s trademark blend of a playful, graphic style with a commitment to addressing societal ills and matters of inequity. Featuring the artist\’s most recognizable symbol,the dynamic human figure, this monumental painting endures as a symbol of Haring\’s belief in the transformative potential for art to confront real-world issues. Measuring 120 inches in diameter, Healing Handis of a scale akin to Haring\’s widely celebrated major public works from the same period. The canvas is vibrant, featuring a full chromatic range dominated by a hand delineated in a jolting orange standing against a soothing purple ground, inflected with passages of yellow, blue, and crimson. The composition is anchored by this hand, palm extended out and bleeding from the wrist, dually recalling the foreshortened palm known as the mudra in Buddhist iconography, as well as the Christian iconography of the stigmata. While recalling these religious images, Haring makes the form all his own. He numbers each finger, morphing them into simplified anthropomorphic figures, and inflecting a playful linguistic duality between \“fingers\” and \“figures.\” Haring further complicates the composition through the thumb, which holds a flap of skin, beneath which blood flows from the eye shaped wound. All around this dynamic scene, there are radiating bars as well as the rhythmic, automatic line drawings which fill the negative space in the composition, and reference Haring\’s infamous tags in the New York City subway. Haring\’s artistic prowess is on full display in Healing Hand. The work is exemplary of Haring\’s painterly assuredness and confident line. The negative space is resplendent with Haring\’s linear markings, and the work vibrates with his frenetic energy. Each line is evenly spaced from the other, implying a trancelike rapidity and accuracy in their execution, as well as a sense that nothing was left untouched by the artist. This assuredness and mastery over the canvas also translates to Haring\’s bold use of color, which pulsates and grabs the eye. Much of Haring\’s genius lay in his ability to take simple compositional ingredients and forge from them a complex and multifaceted narrative that touches on global themes. Raised in Pennsylvania by an engineer father and homemaker mother, Haring had an early fascination with Disney cartoons and the work of Dr. Seuss, as well as an overwhelming artistic drive to master these popular artistic modes. Haring\’s complete control over this highly legible artistic vocabulary is evidenced by the endurance of his human figures, dogs, rays, and other symbols as proxies for his signature to the present day. Despite the accessibility of these symbols, Haring was adept at forging unexpected combinations to create new meaning. In his own words: \“the symbols are self-explanatory and straightforward but the combinations of them the way they\’re rearranged and juxtaposed, sometimes contradicts. It\’s not a straight \‘point A to point B,\’ where everything always means the same thing\” (Keith Haring in Sylvie Courderc, \“Keith Haring\’s World,\” in Keith Haring, Exh. Cat., Bourdeaux 1985, p. 38). Healing Handrevels in these contradictions. Through his numbering system, which situates the middle finger as \“1,\” Haring brings to mind the expletive and the act. When considered in tandem with the diametrically opposed wound, the composition functions as a visual manifestation of the tension between pleasure and pain. Healing Handwas executed one year after Haring\’s AIDS diagnosis, and addresses notions of healing and helplessness, and can be seen as confronting a negligent healthcare system and a community struggling to heal itself. A singular master of a universal visual language, Haring took the most basic ingredients and made them potent symbols, crafting Healing Handas a lasting call for empathy and support.
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