The Labyrinth
The Labyrinth
Signed Print
Keith Haring
£60,000-£80,000
$120,000-$160,000 Value Indicator
$110,000-$140,000 Value Indicator
¥550,000-¥740,000 Value Indicator
€70,000-€100,000 Value Indicator
$590,000-$790,000 Value Indicator
¥11,440,000-¥15,260,000 Value Indicator
$80,000-$100,000 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: Lithograph
Edition size: 25
Year: 1989
Size: H 76cm x W 48cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2017 | Artcurial - France | The Labyrinth - Signed Print | |||
| October 2013 | Christie's New York - United States | The Labyrinth - Signed Print | |||
| December 2001 | Christie's New York - United States | The Labyrinth - Signed Print |
Meaning & Analysis
This signed lithograph from 1989 is a limited edition of 25 by Keith Haring. The Labyrinth is a striking example of the Pop artist’s ability to create complex images whilst maintaining the simplicity of line he is renowned for. Produced just one year before the artist passed away from AIDS-related complications, this print is reminiscent of Haring’s early subway drawings which earned him both notoriety and acclaim.
The Labyrinth shows Haring’s characteristic bold black lines inverted to white to create an expressive pattern against a frenzied background of lines and thorns in what could be perceived as an homage to the iconography of the Ecce Homo tradition in western art. Conversely, the work also represents Haring’s debt to non-western traditions, echoing the bold lines of Pre-Columbian art – especially those of Nazca lines – and aboriginal art. With this marriage of influences, this print can be seen as the epitome of Haring’s hybrid style that knew no difference between high and low, ancient and modern, east and west.
Writing of Keith Haring in the catalogue for the artist’s retrospective at the Whitney Museum of American Art in 1997, David Ross states that “His use of simplified figurative abstract forms and his highly graphic style gave his works an immediate character, the complexity of his puzzlelike constructions pulled the viewer deeply into a unique picture space. Haring’s art radiated energy and he carefully directed that energy beyond the confines of the art world.”