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Pop Shop VI, Plate II - Unsigned Print by Keith Haring 1989 - MyArtBroker

Pop Shop VI, Plate II
Unsigned Print

Keith Haring

£11,000-£16,000Value Indicator

$23,000-$35,000 Value Indicator

$20,000-$30,000 Value Indicator

¥110,000-¥150,000 Value Indicator

€13,000-€19,000 Value Indicator

$120,000-$170,000 Value Indicator

¥2,150,000-¥3,130,000 Value Indicator

$15,000-$21,000 Value Indicator

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34 x 42cm, Edition of 200, Screenprint

Medium: Screenprint

Edition size: 200

Year: 1989

Size: H 34cm x W 42cm

Signed: No

Format: Unsigned Print

Last Auction: July 2020

Value Trend:

33% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
July 2020
Phillips New York
United States
N/A
N/A
N/A
June 2018
Phillips London
United Kingdom
June 2016
AAG: Arts & Antiques Group
Netherlands
June 2014
Germann Auctions
Switzerland
September 2013
Phillips London
United Kingdom
May 2010
Bonhams San Francisco
United States
June 2007
Phillips New York
United States
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Track auction value trend

Keith Haring's Pop Shop VI, Plate II, a screenprint from 1989, is estimated to be worth between £11,000 and £16,000. This unsigned artwork has an auction history of seven total sales since its entry to the market in June 2007. Over the past five years, the hammer price has varied from £2,120 in November 2017 to £3,077 in June 2021. The average annual growth rate of this work is 3% and the edition size is limited to 200.

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Meaning & Analysis

Made entirely of vibrant, primary contained in the thick black lines, Pop Shop VI, Plate II establishes why Haring became such a household name, adored by kids and collectors alike. This set was printed in the year before Haring died from AIDS and is closely tied to his Pop Shop project which saw him open up a store in downtown Manhattan selling his designs on t-shirts, badges and more for as little as 50 cents. The project was typical of Haring who believed art should be for everyone, not just an elite few, and it was this belief that brought him to the medium of print which allowed him to create large editions of his paintings and drawings in order to make them more accessible.

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 colours – black, red, yellow and blue – 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 orange-yellow-turquoise Pop Shop VI 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 VI 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.

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