Plate II, Untitled 1 - 6
Plate II, Untitled 1 - 6
Signed Print
Keith Haring
£15,000-£23,000Value Indicator
$30,000-$50,000 Value Indicator
$28,000-$40,000 Value Indicator
¥140,000-¥220,000 Value Indicator
€18,000-€27,000 Value Indicator
$160,000-$240,000 Value Indicator
¥2,930,000-¥4,500,000 Value Indicator
$20,000-$30,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Screenprint
Edition size: 40
Year: 1982
Size: H 64cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2024 | Grisebach | Germany | |||
| March 2023 | Sotheby's Online | United Kingdom | |||
| May 2020 | Christie's New York | United States | |||
| April 2017 | Christie's New York | United States | |||
| November 2016 | Wright | United States | |||
| October 2010 | Bonhams San Francisco | United States | |||
| October 2008 | Bonhams New Bond Street | United Kingdom |
Meaning & Analysis
This signed screen print from 1982 is a limited edition of 30 by Keith Haring. Rendered in the artist’s trademark linear and figurative style, Barking Dogs shows two dogs barking, a genderless, human figure and a television screen showing another barking dog. Overflowing with symbolism, this print describes the artist’s concern with technology and authoritarian government.
The motifs that appear in Barking Dogs are among Haring’s most famous symbols, originating from his subway drawings from the early 1980s. The dog motif, one of the first symbols reproduced by Haring in the streets of New York, is especially prominent in this print and represents the difference between human power and animal instinct. Moreover, the dots that cover the barking dogs are used to symbolise the perceived otherness of homosexuality. Combined with the artist’s use of energy lines that emanate from the barking dogs, a sense of anxiety is created around this print’s subject.
The television screen is another key motif used by Haring throughout his career. Living through a time of technological acceleration, Haring saw the “machine aesthetic” as a threat to humanity and used the television as a powerful symbol for totalitarian-style manipulation. Haring uses the image of the television screen in this work to symbolise the uncontrollable nature of mass culture.