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The Valley Page 15 - Signed Print by Keith Haring 1989 - MyArtBroker

The Valley Page 15
Signed Print

Keith Haring

£2,100-£3,150Value Indicator

$4,400-$6,500 Value Indicator

$3,900-$6,000 Value Indicator

¥21,000-¥30,000 Value Indicator

€2,450-€3,650 Value Indicator

$22,000-$35,000 Value Indicator

¥420,000-¥630,000 Value Indicator

$2,850-$4,300 Value Indicator

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36 x 30cm, Edition of 80, Etching

Medium: Etching

Edition size: 80

Year: 1989

Size: H 36cm x W 30cm

Signed: Yes

Format: Signed Print

Last Auction: July 2024

Value Trend:

-9% 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 2024
Forum Auctions London
United Kingdom
$1,950
$2,300
$2,900
September 2021
Wright
United States
MyPortfolio
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Track auction value trend

The value of Keith Haring’s The Valley Page 15, a signed etching from 1989, is estimated to be worth between £2,100 and £3,150. This artwork has shown consistent value growth, with an annual average growth rate of 6%. This work has a steady auction history, having been sold twice since its entry to the market on 29th September 2021. The sales in the last 12 months period indicate an average selling price of £1,800. The edition size of this artwork is limited to 80.

Created with Highcharts 11.4.8Sep 2021Mar 2022Aug 2022Feb 2023Aug 2023Jan 2024Jul 2024$1,800$2,000$2,200$2,400$2,600$2,800$3,000© MyArtBroker

Meaning & Analysis

The Valley series is one of many by Haring that when considered in full, tells an unusual story as the sequence of images, combined with text, unfold. Reminiscent of his Apocalypse series (1988) completed one year earlier, Haring’s images are chaotic, with Burroughs’s text-based ‘cut-up’ writing method forming the basis of Haring’s pictographic style.

Haring’s later works such as The Valley Page 15 have been compared within art historical narratives to the chaotic storytelling of Hieronymus Bosch and the fierce liveliness of his friend and contemporary Jean-Michael Basquiat. This particular series is representative of a stylistic shift exemplified in his Cranbrook Mural (1987) that introduced intentional blotches, drips and themes around death and the end of times.

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