Keith Haring

each: signed and dated 83

Gagosian Gallery, New York
Acquired by the present owner from the above

Three works are in very good condition. Framed under Plexiglas. Baby: Few scattered very minor and unobtrusive white speck accretions are visible. There is evidence of minor handling wear along the top and left edges of the work, not obtrusive to the image. Dog: Few minor and unobtrusive spot accretions along the upper right edge of the work. There is evidence of minor handling wear along the top and right edges of the work, not obtrusive to the image. Figure: Few scattered very minor and unobtrusive white and black spot accretions are visible. There is evidence of minor handling wear along the edge of the work, not obtrusive to the image.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present lot bears witness to Haring’s deceptively naïve but powerful symbolic language. The crawling baby is Haring’s most famous “tag,” or logo, that has become a synonymous representation of Haring himself. With rays emanating from around its body, this figure is known as the “radiant baby,” symbolizing youthful innocence, purity, goodness, and potential. Haring’s barking dog figure resembles contemporary reimaginations of the half-human half-jackal Egyptian deity Anubis, and formally emulating the ancient iconography that depicted figures within narratives as two-dimensionally flattened and walking linearly in side profile. The recurring barking dog in Haring’s work stands for authoritarian government, abuse of power, police force, and oppressive regimes; the exciting elongated and wriggling figure with the wavy lines underscores Haring’s joyous embrace of life and hope for salvation. Untitled epitomizes Haring’s inimitable aptitude for conveying pulsating movement through forms distilled to their most basic, essential components.