USA
USA
Signed Print
Keith Haring
£30,000-£45,000 VALUE (EST.)
$60,000-$90,000 VALUE (EST.)
$50,000-$70,000 VALUE (EST.)
¥270,000-¥400,000 VALUE (EST.)
€35,000-€50,000 VALUE (EST.)
$290,000-$430,000 VALUE (EST.)
¥5,450,000-¥8,170,000 VALUE (EST.)
$35,000-$60,000 VALUE (EST.)
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.
Lithograph, 1982
Signed Print Edition of 50
H 54cm x W 73cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2021 | Christie's New York - United States | USA - Signed Print | |||
| July 2015 | Christie's New York - United States | USA - Signed Print | |||
| May 2014 | Sotheby's New York - United States | USA - Signed Print |
Meaning & Analysis
This signed lithograph from 1982 is a limited edition of 50 by Keith Haring. USA shows a central figure, characteristic of Haring’s iconic style, depicted in bright red with a hole in its stomach. The figure sits on the top of a set of dotted steps and a two headed snake writhes through the hole in the figure’s stomach.
This print brings together a set of symbols that are frequently used throughout Haring’s oeuvre. Notably the dotted steps connote the otherness of homosexuality and illness. Moreover, since the brutal murder of John Lennon, shot to death in 1980, Haring became obsessed with creating images of figures with holes in their stomachs as a means to express the emptiness of grief. Haring developed this motif to create images that represent the violence inflicted on the bodies of marginalised people.
USA is indicative of the way in which Haring conveys complex ideas whilst maintaining a simplicity in line and form that appeals to a wide audience. In his use of simplified form and recognisable symbols throughout his work, Haring produces a true public art that communicates clear-cut narrative views on socio-political injustices of the time. Just as his good friend Jean-Michel Basquiat had done before him, Haring used his unique graffiti style to erode boundaries between the public and the world of high art.
