Pop Shop Quad III
Pop Shop Quad III
Unsigned Print
Keith Haring
£40,000-£60,000
$80,000-$120,000 Value Indicator
$70,000-$110,000 Value Indicator
¥380,000-¥560,000 Value Indicator
€50,000-€70,000 Value Indicator
$400,000-$610,000 Value Indicator
¥7,930,000-¥11,900,000 Value Indicator
$50,000-$80,000 Value Indicator
AAGR (5 years) 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.
Medium: Screenprint
Edition size: 75
Year: 1989
Size: H 69cm x W 84cm
Signed: No
Format: Unsigned Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2022 | Uppsala Auktionskammare - Sweden | Pop Shop Quad III - Unsigned Print | |||
| June 2018 | Koller Zurich - Switzerland | Pop Shop Quad III - Unsigned Print | |||
| May 2018 | Wright - United States | Pop Shop Quad III - Unsigned Print | |||
| July 2016 | Leonard Joel, Melbourne - Australia | Pop Shop Quad III - Unsigned Print |
Meaning & Analysis
Typical of Haring’s humorous style, Pop Shop Quad III depicts his signature figures involved in some kind of altercation with an early computer. Heavily outlined in black and filled with bright colours reminiscent of commercial art or cartoons, the scenes emanate energy and solidarity while also evoking empathy and tension.
Haring’s famous Pop Shop series is a testament to the artist’s ingenuity when it came to translating his drawings to the medium of screen printing. The title, a reference to his famous Pop Shop which opened in Manhattan’s SoHo in 1986, also represents his desire to make art accessible to everyone by producing large editions of affordable prints.
Aimed at kids and collectors alike, the Pop Shops were a place where Haring could sell his art for as little as 50 cents. The store stocked t-shirts, badges and magnets featuring his now ubiquitous designs. While the project was praised by friends such as Andy Warhol, who was fascinated by the possibilities of the work of art in the age of mechanical reproduction, it was snubbed by many leading art world figures who placed more value on original works of art. Speaking of the importance of opening the shop as opposed to making large canvases to please collectors, Haring said, “I could earn more money if I just painted a few things and jacked up the price. My shop is an extension of what I was doing in the subway stations, breaking down the barriers between high and low art.”
Printed in five layers of colour – grey, black, green, red and yellow – this work shows Haring’s mastery of screen printing as a medium. Though he had experimented with print techniques such as lithography in the late 70s and 80s it wasn’t until 1983 that Haring began making screen prints, or serigraphs, which offered a way of creating multiple images, that artists had adopted from the world of commercial printing. This move to screen printing was undoubtedly due in part to the method being popularised by Warhol, one of Haring’s most important influences, and soon he was producing ever more inventive and daring work.
It soon became evident that the energy and curiosity he demonstrated for painting translated perfectly into printmaking and he began to work with publishers across the US, Switzerland, Japan, Germany, France, Denmark and Holland. The prints featuring singular images were released as portfolios of four, each from an edition of 200, while the Quad prints— compiling four images in a grid format— were released in an edition of 75. Totalling 875 prints featuring the grey-yellow-turquoise-red Pop Shop III artworks and exemplifying the prolific productivity of Haring’s printmaking, each individual print nevertheless reflects the attentive care paid by Haring throughout the production process. Though initially the singular Pop Shop III prints were released as four-part portfolios (and remain extremely valuable in their original sets of matching edition numbers) many portfolios have inevitably been divided.
By the time of his death, Haring had produced so many prints that the exact number has become impossible to count. There are many unsigned editions on the market, though these tend only to be considered valuable if approved by the Keith Haring Foundation. Today his prints are frequently among the most sought after multiples on the market.
