$5,000-$8,000 Value Indicator
$4,600-$7,000 Value Indicator
¥24,000-¥35,000 Value Indicator
€3,150-€4,750 Value Indicator
$27,000-$40,000 Value Indicator
¥500,000-¥750,000 Value Indicator
$3,400-$5,000 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
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Format: Signed Print
Size: H 36cm x W 30cm
Edition size: 80
Keith Haring's The Valley Page 15 (signed) is estimated to be worth between £2,700 to £4,050. This etching from 1989 has had one sale at auction to date, which took place on 29th September 2021. The hammer price for this sale was £2,233. The average return to the seller was £1,898, and the artwork has shown an increase in value with an average annual growth rate of 5%. The edition size of this artwork is limited to 80.
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2021||Wright - United States||The Valley Page 15 - Signed Print|
This signed etching from 1989 is a limited edition of 80 from Keith Haring’s The Valley series. The Valley Page 15 shows an image of three unusual looking figures who make up the fictional rock group ‘Glowing Corn’, indicated by the writing in the print. Despite the frenzied subject matter of the series’ narrative and energy of the image, Haring maintains a simplicity in line that he is renowned for, depicting this image exclusively in black and white.
The Valley series is one of many by Haring that when considered in full, tells an unusual story as the sequence of images, combined with text, unfold. Reminiscent of his Apocalypse series (1988) completed one year earlier, Haring’s images are chaotic, with Burroughs’s text-based ‘cut-up’ writing method forming the basis of Haring’s pictographic style.
Haring’s later works such as The Valley Page 15 have been compared within art historical narratives to the chaotic storytelling of Hieronymus Bosch and the fierce liveliness of his friend and contemporary Jean-Michael Basquiat. This particular series is representative of a stylistic shift exemplified in his Cranbrook Mural (1987) that introduced intentional blotches, drips and themes around death and the end of times.