Bayer Suite 5
Bayer Suite 5
Signed Print
Keith Haring
£1,900-£2,800
$3,600-$5,500 Value Indicator
$3,300-$4,900 Value Indicator
¥18,000-¥26,000 Value Indicator
€2,250-€3,300 Value Indicator
$19,000-$28,000 Value Indicator
¥390,000-¥580,000 Value Indicator
$2,450-$3,600 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: Lithograph
Edition size: 70
Year: 1982
Size: H 30cm x W 24cm
Signed: Yes
Format: Signed 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 |
|---|---|---|---|---|---|
| June 2012 | Cornette de Saint Cyr Paris - France | Bayer Suite 5 - Signed Print |
Meaning & Analysis
Keith Haring’s Bayer Suite 5 is a signed lithograph from his Bayer Suite series that was commissioned in 1982 by Bayer AG on the occasion of the release of the heart medication ‘Sali-Adalat’. A limited edition of 70, the print shows a line drawing of a figure running, with its arms and legs spread outwards and red action lines to emphasise the figure’s movement. The dotted landscape that the figure runs on adds a jarring sense of kinetic energy to the print.
Haring’s highly symbolic figures like the one shown in Bayer Suite 5 were fundamental to his work that conveyed a variety of important themes that concerned contemporary life in 1980s New York. Taking influence from the Pop Art movement and artists like Andy Warhol, Haring utilised thick black lines and a flattened picture plane to make his art accessible and engage with diverse audiences.
The Bayer Suite series engages with themes of movement and the heart to form a celebratory sequence of works that relate to Bayer’s newly released heart medication. The simplistic form and positive visual language of Bayer Suite 5 recalls the artist’s early subway drawings, where he spent his days drawing in white chalk on the empty advertising panels of the New York subway system.
