Pop Shop II, Plate II
Pop Shop II, Plate II
Signed Print
Keith Haring
£24,000-£35,000
$45,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥220,000-¥310,000 Value Indicator
€28,000-€40,000 Value Indicator
$230,000-$330,000 Value Indicator
¥4,590,000-¥6,700,000 Value Indicator
$30,000-$45,000 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: 200
Year: 1988
Size: H 31cm x W 38cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2023 | Phi Auctions | United States | |||
| December 2021 | A.N. Abell Auction Company | United States | |||
| October 2021 | Phillips New York | United States | |||
| October 2021 | Wright | United States | |||
| October 2021 | Toomey & Co. Auctioneers | United States | |||
| September 2019 | Sotheby's London | United Kingdom | |||
| September 2019 | Sotheby's London | United Kingdom |
Meaning & Analysis
Pop Shop II, Plate II is the second print in Keith Haring's second Pop Shop series. Released in an edition of 200 in 1988, this print is testament to the artist's ingenuity when it came to translating his drawings into the medium of print. Featuring Haring's characteristic, androgynous figure emanating energy lines, Pop Shop II, Plate II delivers a joyful, vibrant image.
The thick black outlines are typical of Haring’s street art style, developed in the subways and on the walls of New York in the early 80s. These early experiments resulted in a style and iconography for which Haring would become world famous, his barking dog, radiant child and winged superman figures instantly recognisable for their originality and playfulness. He would reproduce these figures over and over again, in bright colours reminiscent of advertising, and later, just before his death from AIDS in 1990, in plain white embossings.
Haring opened his first Pop Shop in downtown Manhattan IN 1986. Aimed at kids and collectors alike, the Pop Shops were a place where Haring could sell his art for as little as 50 cents. The store stocked t-shirts, badges and magnets featuring his now ubiquitous designs.
While the project was praised by friends such as Andy Warhol, who was fascinated by the possibilities of the work of art in the age of mechanical reproduction, it was snubbed by many leading art world figures who placed more value on original works of art. Speaking of the importance of opening the shop as opposed to making large canvases to please collectors, Haring said, “I could earn more money if I just painted a few things and jacked up the price. My shop is an extension of what I was doing in the subway stations, breaking down the barriers between high and low art”.
Printed in four layers of colour – yellow, red, blue and black – this work shows Haring’s mastery of screen printing as a medium. Though he had experimented with print techniques such as lithography in the late 70s and 80s it wasn’t until 1983 that Haring began making screen prints, or serigraphs, which offered a way of creating multiple images, that artists had adopted from the world of commercial printing. This move to screen printing was undoubtedly due in part to the method being popularised by Warhol, one of Haring’s most important influences, and soon he was producing ever more inventive and daring work.
It soon became evident that the energy and curiosity he demonstrated for painting translated perfectly into printmaking and he began to work with publishers across the US, Switzerland, Japan, Germany, France, Denmark and Holland. The prints featuring singular images were released as portfolios of four, each from an edition of 200, while the Quad prints— compiling four images in a grid format— were released in an edition of 75. Totalling 875 prints featuring the blue-pink-yellow Pop Shop II artworks and exemplifying the prolific productivity of Haring’s printmaking, each individual print nevertheless reflects the attentive care paid by Haring throughout the production process. Though initially the singular Pop Shop II prints were released as four-part portfolios (and remain extremely valuable in their original sets of matching edition numbers) many portfolios have inevitably been divided.
By the time of his death, Haring had produced so many prints that the exact number has become impossible to count. There are many unsigned editions on the market, though these tend only to be considered valuable if approved by the Keith Haring Foundation. Today his prints are frequently among the most sought after multiples on the market.
