£13,000-£19,000 VALUE (EST.)
$24,000-$35,000 VALUE (EST.)
$22,000-$30,000 VALUE (EST.)
¥110,000-¥160,000 VALUE (EST.)
€15,000-€22,000 VALUE (EST.)
$120,000-$180,000 VALUE (EST.)
¥2,080,000-¥3,040,000 VALUE (EST.)
$16,000-$23,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 60
H 54cm x W 64cm
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Toni Clayton, American Pop & Modern Specialist
|Auction Date||Auction House||Artwork|
Return to Seller
|November 2021||Christie's New York - United States||Angel (white) - Signed Print|
|September 2019||Forum Auctions London - United Kingdom||Angel (white) - Signed Print|
|May 2019||Bonhams Los Angeles - United States||Angel (white) - Signed Print|
|May 2018||Bonhams Los Angeles - United States||Angel (white) - Signed Print|
This signed screen print from 1990 is a limited edition of 60 from Keith Haring’s White Icons series. Angel (white) is an embossing on white paper that shows a winged figure with its arms and legs spread outwards. Exactly mimicking the artist’s Icons series but without colour, this print corresponds with Haring’s Angel print. Angel is demonstrative of the way Haring shapes religious source material to reflect contemporary concerns of his generation.
Much like fellow graffiti artist Jean-Michel Basquiat, Haring reuses particular symbols, all present in the White Icons series, to produce a memorable pictorial language. The angel is an image used repeatedly by Haring, in works such as Marriage of Heaven and Hell (1984) and Anti-Nuclear Rally (1982), to speak to the ambiguities and socio-political injustices of the time. Angel overflows with paradoxical themes like life and death, good and evil, religion and sexuality, heaven and hell. This paradox is further exemplified when considered alongside other prints in the Icons series, notably Flying Devil.
Haring produces a set of recognisable positive symbols and clear-cut narrative views in his use of simplified form and repetition of images from previous works. The way in which Haring has depicted these images in the White Icons series without their original saturated colours works to simplify the images down even further to produce a more subtle tone to the works.