5 Year Print Market Review 2023
Plate II, Untitled 1 - 6 - Signed Print by Keith Haring 1982 - MyArtBroker

Plate II, Untitled 1 - 6
Signed Print

Keith Haring

£15,000-£22,000 VALUE (EST.)

$27,000-$40,000 VALUE (EST.)

$25,000-$35,000 VALUE (EST.)

¥130,000-¥190,000 VALUE (EST.)

17,000-25,000 VALUE (EST.)

$140,000-$210,000 VALUE (EST.)

¥2,430,000-¥3,570,000 VALUE (EST.)

$18,000-$27,000 VALUE (EST.)

46% AAGR

This estimate blends recent public auction records with our own private sale data and network demand.

Screenprint, 1982
Signed Print Edition of 40
H 57cm x W 84cm

Toni Clayton

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Toni Clayton, American Pop & Modern Specialist

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
March 2023Sotheby's London - United KingdomPlate II, Untitled 1 - 6 - Signed Print
May 2020Christie's New York - United StatesPlate II, Untitled 1 - 6 - Signed Print
April 2017Christie's New York - United StatesPlate II, Untitled 1 - 6 - Signed Print
November 2016Wright - United StatesPlate II, Untitled 1 - 6 - Signed Print
October 2010Bonhams San Francisco - United StatesPlate II, Untitled 1 - 6 - Signed Print
October 2008Bonhams New Bond Street - United KingdomPlate II, Untitled 1 - 6 - Signed Print
April 2008Phillips New York - United StatesPlate II, Untitled 1 - 6 - Signed Print

Meaning & Analysis

The motifs that appear in Barking Dogs are among Haring’s most famous symbols, originating from his subway drawings from the early 1980s. The dog motif, one of the first symbols reproduced by Haring in the streets of New York, is especially prominent in this print and represents the difference between human power and animal instinct. Moreover, the dots that cover the barking dogs are used to symbolise the perceived otherness of homosexuality. Combined with the artist’s use of energy lines that emanate from the barking dogs, a sense of anxiety is created around this print’s subject.

The television screen is another key motif used by Haring throughout his career. Living through a time of technological acceleration, Haring saw the “machine aesthetic” as a threat to humanity and used the television as a powerful symbol for totalitarian-style manipulation. Haring uses the image of the television screen in this work to symbolise the uncontrollable nature of mass culture.

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