Pop Shop V, Plate I
Pop Shop V, Plate I
Unsigned Print
Keith Haring
£10,000-£14,500
$19,000-$28,000 Value Indicator
$18,000-$26,000 Value Indicator
¥90,000-¥140,000 Value Indicator
€12,000-€17,000 Value Indicator
$100,000-$150,000 Value Indicator
¥2,050,000-¥2,980,000 Value Indicator
$13,000-$19,000 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: 200
Year: 1989
Size: H 34cm x W 42cm
Signed: No
Format: Unsigned Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2006 | Christie's New York - United States | Pop Shop V, Plate I - Unsigned Print |
Meaning & Analysis
Pop Shop V, Plate I is one of four prints in American artist Keith Haring's fifth Pop Shop set. This screen print was released in an edition of 200 in 1989, and is notable for its combination of pink, red and turquoise as well as its subject matter. The swimming dolphin and androgynous figure play out a joyful scene reminiscent of comics or cartoons. Boldly outlined in black, this print recalls Haring’s beginnings in street art and his earliest ‘subway drawings’ that made his name while he was still a student.
By the time this print was made however, Haring was at the top of his career and sadly only one year from his death. A few years before he had opened his first Pop Shop in Manhattan’s SoHo, selling badges, t-shirts and more from as little as 50 cents, in a bid to make his art more commercially accessible to everyone. This transition from painting to multiples also led to Haring’s adoption of screen printing – a commercial technique made popular by Andy Warhol in the 60s – which offered him the chance to experiment with colour and line in large editions. Printed in four colours – black, red, brown and yellow – this work shows Haring’s mastery of screen printing as a medium.
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 pink-orange-turquoise Pop Shop V 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 V 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.
