Back

KEITH HARING (1958-1990)

 
KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in. KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.
Untitled19764 5/8 x 5 1/2 in. ink on illustration board
Provenance
Luc Mulier Brussegen. Belgium
Private Collection, Florida
Artnet Auction January 28, 2016
Private Collection, Puerto Rico

40,000

Inquire

Similar Artworks

Gary Hume's "Seabird" (2006) is a bold, innovative work that shows his talent in seamlessly forming a geometric composition with his signature gloss-paint on aluminum technique. This piece is bright, playful, and an excellent example of Hume's work.
<br>
<br>Gary Hume was an early member of the "YBA" or Young British Artist group.  Hume participated, alongside Damien Hirst, in the seminal 1988 London exhibition "Freeze."  Elected to the Royal Academy in 2001, Hume was also nominated for the 1996 Turner Prize. The artist was also subject of a critically acclaimed 2013 retrospective exhibition at the Tate Britain.  
<br>
<br>Hume's work is widely represented in Museum collections worldwide, including the Metropolitan Museum of Art in New York, The Philadelphia Museum of Art, and the Tate in London.

GARY HUME

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

Roy Lichtenstein’s style of Pop art was inspired by comic strips, in which he created images through a combination of mechanical reproduction and hand-drawing. He used iconic images and cultural influences to create striking action images, often with captions and onomatopoeic exclamations, much as one would find in comics. This screenprint is from a group of seven Reflections prints and in each, the image is obscured by color and patterns resembling the reflected light as if behind glass. Inspired by trying to photograph a work by Robert Rauschenberg behind glass, Lichtenstein appropriated images from his past and thus brings the appropriation of Pop art full circle.

ROY LICHTENSTEIN

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

ED RUSCHA

LEANDRO ERLICH - Rain - steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati - 73 3/8 x 96 3/4  x 26 1/4 in.

LEANDRO ERLICH

SERGEJ JENSEN - Men with Hats - canvas collage on canvas - 71 x 51 1/2 in

SERGEJ JENSEN

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

HASSEL SMITH

Zhu Yi Yong - Woman with a Fan - oil on canvas - 43 x 37 1/2 in.

Zhu Yi Yong

HASSEL SMITH - Untitled - acrylic on canvas - 67 3/4 x 67 5/8 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

HASSEL SMITH

PETER SHELTON - onelongsleeve - metal - 29 1/2 x 47 3/4 x 10 1/2 in.

PETER SHELTON

PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

PETER SHELTON

ALEXANDER CALDER - Untitled - gouache and ink on paper - 37 1/2 x 81 3/4 in.

ALEXANDER CALDER

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

LARI PITTMAN - Untitled - oil and acrylic on canvas - 95 x 65 in.

LARI PITTMAN

JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in.

JEFF KOONS

RUSSELL YOUNG - Wave - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

RUSSELL YOUNG

Sandra Mendelsohn Rubin - Valley View: Late Summer - oil on polyester - 4 x 7 1/8 in.

Sandra Mendelsohn Rubin

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

WILLIAM GLEN CROOKS - Night and Day Café - oil on canvas - 48 x 36 in.

WILLIAM GLEN CROOKS

THOMAS WILLIAM JONES - After Halloween - watercolor on paper - 10 3/4 x 10 1/4 in.

THOMAS WILLIAM JONES

SIDDHARTH PARASNIS - Cityscape - oil on canvas - 48 x 48 in.

SIDDHARTH PARASNIS

Ann Craven - Red Crescent Moon - oil painting - 14 1/8 x 14 1/8 in.

Ann Craven

TATIANA BOTTON - Shivers - photograph with metal backing, metal clips, and acrylic front - 40 x 60 in.

TATIANA BOTTON

CARLOS LUNA - Bimbam - oil on canvas - 14 x 12 in.

CARLOS LUNA

RONALD DAVIS - Large Lavender Slab - proprietary pixel dust on aluminum - 18 x 24 in.

RONALD DAVIS

WILLIAM WEGMAN - Red Dog - C-Print - 3 3/4 x 3 3/4 in.

WILLIAM WEGMAN

WILLIAM T. WILEY - It's Only a Pay Per Moon - lithograph and woodcut additions on chamois - 47 3/4 x 38 in.

WILLIAM T. WILEY