Untitled 1983
Untitled 1983
Signed Print
Keith Haring
£26,000-£40,000 Value Indicator
$50,000-$80,000 Value Indicator
$45,000-$70,000 Value Indicator
¥230,000-¥350,000 Value Indicator
€30,000-€45,000 Value Indicator
$250,000-$380,000 Value Indicator
¥4,740,000-¥7,290,000 Value Indicator
$30,000-$50,000 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
There aren’t enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Woodcut, 1983
Signed Print Edition of 60
H 61cm x W 76cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2016 | Christie's New York - United States | Untitled 1983 - Signed Print | |||
| January 2016 | Phillips London - United Kingdom | Untitled 1983 - Signed Print | |||
| October 2013 | Phillips New York - United States | Untitled 1983 - Signed Print | |||
| November 2010 | Phillips New York - United States | Untitled 1983 - Signed Print | |||
| October 2010 | Phillips London - United Kingdom | Untitled 1983 - Signed Print | |||
| March 2006 | Sotheby's London - United Kingdom | Untitled 1983 - Signed Print |
Meaning & Analysis
This signed woodcut from 1983 is a limited edition of 60 by Keith Haring. Untitled shows two genderless figures falling backwards over one another depicted in the artist’s highly recognisable linear style. The figures are rendered with thick, rounded red lines and finer black squiggly lines fill their bodies and the surrounding space to form a frenzied, all-over composition.
Haring’s print strikes a balance between pattern and figuration in such a way that recalls the art of Australian Aborigines, something that the artist claimed to be unaware of. The use of flat, block colours further emphasises the abstract surface pattern of the image, with the thick, bright red lines set in contrast to the black linear pattern. Untitled 1983 has a compulsive quality that fills out across the canvas that contrasts to Haring’s typical use of simplified form and block colour.
Untitled bursts with a sense of energy and dynamism that is characteristic of Haring’s work throughout his entire career. Haring was concerned with the idea of the democratisation of art and used his positive visual language as a form of activism. Seeking to dissolve the boundaries between fine art, political activism and popular culture, Haring’s works like Untitled 1983 bridge the gap between high art and mass consumerism.
