Plate III, Untitled 1 - 6
Plate III, Untitled 1 - 6
Signed Print
Keith Haring
£21,000-£30,000
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥190,000-¥280,000 Value Indicator
€25,000-€35,000 Value Indicator
$210,000-$310,000 Value Indicator
¥4,090,000-¥5,850,000 Value Indicator
$28,000-$40,000 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: 40
Year: 1982
Size: H 64cm x W 92cm
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 2003 | Ketterer Kunst Hamburg - Germany | Plate III, Untitled 1 - 6 - Signed Print |
Meaning & Analysis
Untitled 1982 is a signed lithograph by Keith Haring, released in 1982 in an edition size of 40. While barking dogs and radiant babies are arguably the most recognizable symbols of Haring's visual vocabulary, the scene of crucifixion is particularly prominent motif that ran throughout his work in the 1980s.
Haring’s 1986 work Crucifixion engages directly with the themes of condemnation and suffering, depicting a crucified figure on a piece of German newspaper with the use of a marker pen. The etchings from the late 1980s, in turn, depart from the simplistic silhouettes that populate many of Haring’s works. His 1989 etching Untitled (Crucifixion) represents the human being as feeble and deformed, an ailing victim of cruelty epitomised by crucifixion.
The stigma of public execution is also at the centre of Haring’s 1982 print. Drawing on explicit religious allusions, Untitled 1982 depicts a crucified figure surrounded by barking dogs. Naked and nailed to the cross, the vulnerable subject stands in stark opposition to the dynamic, colourful imagery that Haring’s name is associated with. As such, the work attests to the versatility of the artist whose body of work ranges in tone from witty and optimistic to political and allegory-laden.