£11,000-£16,000 VALUE (EST.)
$21,000-$30,000 VALUE (EST.)
$19,000-$27,000 VALUE (EST.)
¥100,000-¥140,000 VALUE (EST.)
€12,500-€19,000 VALUE (EST.)
$110,000-$160,000 VALUE (EST.)
¥1,910,000-¥2,770,000 VALUE (EST.)
$13,500-$20,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 125
H 14cm x W 14cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|October 2022||Bonhams New Bond Street - United Kingdom||Dr Winkies Wedding Invitation - Signed Print|
|August 2022||Swann Auction Galleries - United States||Dr Winkies Wedding Invitation - Signed Print|
|March 2021||Bonhams Los Angeles - United States||Dr Winkies Wedding Invitation - Signed Print|
|December 2020||Toomey & Co. Auctioneers - United States||Dr Winkies Wedding Invitation - Signed Print|
|May 2019||Swann Auction Galleries - United States||Dr Winkies Wedding Invitation - Signed Print|
|December 2017||Sotheby's Hong Kong - Hong Kong||Dr Winkies Wedding Invitation - Signed Print|
|May 2017||Wright - United States||Dr Winkies Wedding Invitation - Signed Print|
This signed screen print from 1988 is a limited edition of 100 by Keith Haring. Unusual for having been printed onto canvas rather than paper, Dr Winkie’s Wedding Invitation shows two figures joined by a head in which beats a red love heart. Surrounded by Haring’s signature energy lines, the androgynous figures hold hands and dance against a pink background in a joyful celebration of love and energy.
Created as a wedding announcement for the union of Estefania Kong and Lawrence ‘Dr. Winkie’ Lin, this print is rendered in Haring’s trademark figurative style with vivid, contrasting colours and bold outlines. Throughout his artistic oeuvre, Haring used the motif of conjoined genderless figures as a symbol for the power of working together. Thus, this joyful pictogram is apt for an invitation to a wedding, where the two figures in the image come together to form a beating heart.
Though Haring had experimented with print techniques such as lithography in the late 1970s it wasn’t until 1983 that he began making screen prints. Representing the union of Haring’s painting and printing practice, it is an important part of his catalogue raisonné and demonstrates the essential importance of the drawn line in his work.