Apocalypse 6
Apocalypse 6
Signed Print
Keith Haring
£14,500-£22,000 Value Indicator
$27,000-$40,000 Value Indicator
$24,000-$35,000 Value Indicator
¥130,000-¥190,000 Value Indicator
€17,000-€25,000 Value Indicator
$140,000-$210,000 Value Indicator
¥2,640,000-¥4,010,000 Value Indicator
$18,000-$27,000 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.
Screenprint, 1988
Signed Print Edition of 90
H 96cm x W 96cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Sotheby's Online - United Kingdom | Apocalypse 6 - Signed Print | |||
| May 2022 | Van Ham Fine Art Auctions - Germany | Apocalypse 6 - Signed Print | |||
| September 2021 | Sotheby's Online - United Kingdom | Apocalypse 6 - Signed Print | |||
| January 2017 | Phillips London - United Kingdom | Apocalypse 6 - Signed Print | |||
| April 2009 | Phillips New York - United States | Apocalypse 6 - Signed Print | |||
| June 2004 | Christie's London - United Kingdom | Apocalypse 6 - Signed Print | |||
| November 2000 | Christie's Amsterdam - Netherlands | Apocalypse 6 - Signed Print |
Meaning & Analysis
Keith Haring’s Apocalypse 6 is a bright composition taken from his Apocalypse series (1988), depicted in bold lines, gestural marks and splashes of vivid colour to create a dynamic and complex image. The scene shows a portrait of a large human-like figure, its head forming a double image with a collaged copy of Leonardo da Vinci’s Mona Lisa.
The appropriated image of the Mona Lisa forms the focal point of the print and produces a jarring effect between the self-assured visual perfection of high art and rawness of Haring’s gestural marks. Defaced by Haring’s line drawings, the Mona Lisa has rays emanating from her head and appears to be placed against a cross. Highlighted by drip lines that appear like string, the large human-like figure appears to be controlling the Mona Lisa like a puppet with its large arms.
Haring’s visceral and uninhibited graffiti style, accentuated by the drip and splatter marks, makes clear his own bodily suffering due to AIDS and the aguish felt in relation to the chaos of contemporary events. Furthermore, by using the image of a puppet master in Apocalypse 6, Haring alludes to totalitarian-style manipulation and the oppressiveness of government indifference to the HIV/AIDS epidemic in 1980s America.
