$35,000-$50,000 Value Indicator
$29,000-$40,000 Value Indicator
¥150,000-¥220,000 Value Indicator
€19,000-€29,000 Value Indicator
$160,000-$240,000 Value Indicator
¥3,150,000-¥4,630,000 Value Indicator
$21,000-$30,000 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.
Signed Print Edition of 60
H 81cm x W 100cm
|Auction Date||Auction House||Artwork|
Return to Seller
|October 2023||Bonhams New York - United States||Free South Africa 2 - Signed Print|
|April 2022||Wright - United States||Free South Africa 2 - Signed Print|
|October 2020||Bonhams New Bond Street - United Kingdom||Free South Africa 2 - Signed Print|
|June 2018||Phillips London - United Kingdom||Free South Africa 2 - Signed Print|
|June 2016||Hagelstam - Finland||Free South Africa 2 - Signed Print|
|March 2016||Christie's New York - United States||Free South Africa 2 - Signed Print|
|June 2014||Ketterer Kunst Hamburg - Germany||Free South Africa 2 - Signed Print|
This signed lithograph from 1986 is a limited edition of 60 from Keith Haring’s Free South Africa series. Depicted in Haring’s bold, linear style, Free South Africa 2 shows two figures in a struggle with one another, the larger figure with a rope around its neck. Using a simplified visual language of recognisable symbols, this print is an example of how Haring used his playful figurative style to tackle social injustices around the world, notably racism and apartheid in South Africa.
Printing and distributing around 20,000 poster versions of this print in New York City in 1986, Haring worked tirelessly to mobilise support against apartheid. Using his bold, linear style Haring represents the relationship between the black majority and white minority in South Africa during years of institutionalised racial segregation. The black figure on the left is rendered much larger than the white figure, symbolising the substantial disparity between the black majority and the few white people that had political and social power at the time. Haring clearly conveys this inequality of the white man’s power by showing the white figure with a rope around the black figure’s neck.
The presence of radiating lines and dashes work to bring movement to the image, conveying the rage of the black figure and worry of the white figure who is about to be crushed. Haring playfully offers the viewer a glimpse of hope for the future by depicting the black figure crushing the white figure that represents this inequality.