- 396
Keith Haring
Estimate
200,000 - 300,000 USD
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Description
- Keith Haring
- Untitled
each signed, dated July 14 1981 NYC on the reverse
- ink on paper, in 4 parts
- Each: 20 by 26 in. 50.8 by 66 cm.
- Overall: 20 by 104 in. 50.8 by 264.2 cm.
Provenance
Tony Shafrazi Gallery, New York
Private Collection
Private Collection
Exhibited
New York, Tony Shafrazi Gallery, Keith Haring, October - November 1982, p. 98, illustrated
New York, Tony Shafrazi Gallery, Keith Haring. A Memorial Exhibition: Early Works on Paper, May - June 1990, pp. 40-41, illustrated
New York, Whitney Museum of American Art; Toronto, Art Gallery of Ontario; Miami, Museum of Contemporary Art; San Francisco, Museum of Modern Art; Montreal, Musée des Beaux-Arts, Keith Haring Retrospective, June 1997 - January 1999, pp. 106-109, illustrated
New York, Tony Shafrazi Gallery, Keith Haring. A Memorial Exhibition: Early Works on Paper, May - June 1990, pp. 40-41, illustrated
New York, Whitney Museum of American Art; Toronto, Art Gallery of Ontario; Miami, Museum of Contemporary Art; San Francisco, Museum of Modern Art; Montreal, Musée des Beaux-Arts, Keith Haring Retrospective, June 1997 - January 1999, pp. 106-109, illustrated
Literature
Keith Haring, Keith Haring Journals, New York, 1996, pp. 4-5, illustrated
Condition
This work appears in very good condition overall. There are artist's pinholes on the four corners of each sheet with light evidence of handling at the edges. Each sheet exhibits a slight undulation along with light drying cracks in the areas of heavier ink application. The left image (in the catalogue illustration) exhibits four brown accretions measuring approximately 1/8 of an inch located 13 inches from the right edge along the top edge. The sheet second to the left in the catalogue illustration has a 1 ½ inch abrasion located 5 inches from the left edge along the top edge. This sheet exhibits a few pinpoint accretions located 10 ½ inches from the right edge along the bottom edge. The sheets are hinged to the mattes at the four corners and in the middle of the top and bottom edges verso. Each work is framed under Plexiglas.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
"Haring's first exhibition at the Tony Shafrazi Gallery included tarps and drawings: drawings of Smurfs and Mickey Mouses... as they expanded to fill the gallery, the ensemble took on the aura of a fantastic hybrid of high and low, ancient and contemporary, East and West, a paradigm for an expanded idea of signs in the modern metropolis." - Elisabeth Sussman (from Exh. Cat., Keith Haring, Whitney Museum of American Art, 1997, p. 18)