Bayer Suite 1
Bayer Suite 1
Signed Print
Keith Haring
£1,800-£2,700
$3,500-$5,000 Value Indicator
$3,200-$4,800 Value Indicator
¥17,000-¥25,000 Value Indicator
€2,150-€3,250 Value Indicator
$18,000-$27,000 Value Indicator
¥350,000-¥530,000 Value Indicator
$2,300-$3,400 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: 70
Year: 1982
Size: H 30cm x W 24cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Bonhams New Bond Street - United Kingdom | Bayer Suite 1 - Signed Print |
Meaning & Analysis
This signed offset lithograph from 1982 is a limited edition of 70 from Keith Haring’s Bayer Suite series. Bayer Suite 1 shows an image of two genderless figures with their arms outstretched, holding up a large heart in the centre of the frame. This lithograph is an early example of the artist’s trademark figurative style. The series was commissioned by Bayer AG on the occasion of the release of the heart medication ‘Sali-Adalat’ and consists of six different motifs on the theme of movement and the heart.
Bayer Suite 1 shows an image of two genderless figures with their arms outstretched, holding up a large heart in the centre of the frame. Graphic lines radiate from the heart to give the effect that it is pulsating, and action lines are shown at the figures’ feet making them look as though they are dancing with joy. This celebratory image bursts with energy and vigour, a sensibility that makes Haring’s work so appealing and unique.
Across the series, Haring limits his colour palette to black, red and white, producing a highly simplified and stylised set of works. The simplistic form and positive visual language of Bayer Suite 1 recalls the artist’s early subway drawings, where he spent his days drawing in white chalk on the empty advertising panels of the New York subway system.
