Wedding Invitation
Wedding Invitation
Signed Print
Keith Haring
£21,000-£30,000
$40,000-$60,000 Value Indicator
$40,000-$50,000 Value Indicator
¥190,000-¥280,000 Value Indicator
€25,000-€35,000 Value Indicator
$210,000-$300,000 Value Indicator
¥4,190,000-¥5,990,000 Value Indicator
$27,000-$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: Screenprint
Edition size: 50
Year: 1987
Size: H 15cm x W 15cm
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 |
|---|---|---|---|---|---|
| March 2020 | Sotheby's New York - United States | Wedding Invitation - Signed Print | |||
| December 2018 | Sotheby's New York - United States | Wedding Invitation - Signed Print |
Meaning & Analysis
This signed screen print from 1987 is a limited edition of 50 by Keith Haring. Wedding Invitation shows two genderless figures depicted in bold, black lines and a beating red heart centred above them. The figure on the right stretches its arm out to embrace the figure on the left and it is clear that the print’s message centres around love, friendship and joy.
Haring uses his iconic energy lines to enact the movement of the beating heart and the liveliness of the figures embracing, working to create a print that is full of life. Throughout his artistic oeuvre, Haring used the motif of genderless figures embracing as a symbol for the power of working together. Thus, this joyful pictogram is apt for an invitation to a wedding, where the two figures in the image come together under a beating heart.
Published in an edition of 50 this print is signed by the artist. Though Haring had experimented with print techniques such as lithography in the late 1970s it wasn’t until 1983 that he began making screen prints. Representing the union of Haring’s painting and printing practice, it is an important part of his catalogue raisonné and demonstrates the essential importance of the drawn line in his work.