KEITH HARING | Andy Mouse (L. pp. 64-65)

The complete set, comprising four screenprints in colours, 1986, vibrant impressions, each signed by Andy Warhol and Keith Haring in pencil, dated, inscribed with Haring's insignia, numbered PP 2/5 (printer's proofs aside from the edition of 30), printed by Rupert Jasen Smith, published by George Mulder, New York, on Lenox Museum Board, each framed

The full sheets, the colours fresh, in good condition, the slightest scuffing at extreme sheet edges associated with framing, each framed. (*mounted with eight hinges on conservation card causing very slight undulation in the sheet characteristic of this sort of framing). Individual observations include: 1: a minute pigment loss in the top edge of black border at left. 3: a few miniscule fibre adhesions in the black ink mostly at lower right, four minute stray blue ink spots in upper left silver ink, both inherent to printing. 4: a few minute spots of stray ink in upper right orange background inherent to printing.
"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."

Of his Andy Mouse, Keith Haring suggested: ‘It’s treating him [Warhol] like he was part of American culture, like Mickey Mouse was.  That he himself had become a symbol…’  By the time Haring met Warhol in 1984, the ‘founder’ of Pop Art was a venerable household name, as familiar to the American public as Cambell’s Soup cans or Brillo Pads.  Pleasantly surprised to learn that he and his Pop idol both admired the imaginative work of Walt Disney, Haring aimed to pay tribute to his two heroes with this series of four screenprints.  Recalling his childhood drawings of Mickey Mouse, Haring re-interpreted America’s favourite cartoon character as Andy, combining and associating two of the country’s most-loved icons.  Unable to resist commenting on his peers’ materialism, Haring added symbolic touches, like his signature dollar signs, in true Warholian fashion.