Keith Haring

Diego Cortez, New York
Tony Shafrazi, New York
De Pury and Luxembourg Gallery, Zurich
Skarstedt Gallery, New York
Acquired by the present owner from the above in April 2006

New York, Westbeth Painter's Pasce, Keith Haring, February 1981
New York, Tony Shafrazi Gallery, Keith Haring: Important Early Works from the Estate of Keith Haring, October 1992 - January 1993
Turin, Castello di Rivoli, Keith Haring, February - April 1994
Musée d’Art Moderne de la Ville de Paris, Keith Haring The Political Line, April - August 2013

Exh. Cat., New York, The Whitney Museum of American Art, Keith Haring, 1997, pp. 46 and 67, illustrated

This work is in very good condition overall. There are pinholes in all quadrants of the sheet, which is inherent to the working method of the artist. There is a slight undulation to the sheet, most notably in the center and along the edges. The top, left and right edges are unevenly cut, which is inherent to the working method of the artist. There is evidence of light wear and handling along the top and bottom edges of the sheet, which is visible only under close inspection. There are three very minor tears located 3 1/8 inches from the top left edge, 1/4 inch from the bottom left edge, and 9 ¾ inches from the top right edge. The sheet has been hinged intermittantly to the backing board. 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.

"I think as much as possible, an artist, if he has any kind of social or political concern, has to try to cut through those things, and to expose as much as possible what he sees so that some people think about things that they don’t normally think about. Sometimes I do that by pushing things to the extreme; in the face of people who try to close their eyes I react the opposite, by trying to be more open and deal more openly with sexuality and violence for instance. An artist putting as many images into the world as I am should be aware or try to understand what that means and how those images are absorbed or how they affect the world. I don’t think art is propaganda; it should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it." Keith Haring, December 16, 1985