Keith Haring, ‘Apocalypse 3; 4; and 8’, 1988, Phillips

All sheets: 37 7/8 x 38 in. (96.2 x 96.5 cm)

All signed, dated and numbered 59/90, 31/90 and 31/90 respectively in pencil (there were also 20 artist's proofs and 5 hors commerce), published by George Mulder Fine Arts, New York (with their and the artist's copyright inkstamp on the reverse), all framed.

Klaus Littmann pp. 102 and 106

About Keith Haring

Bridging the gap between the art world and the street, Keith Haring rose to prominence in the early 1980s with his graffiti drawings made in the subways and on the sidewalks of New York City. Combining the appeal of cartoons with the raw energy of Art Brut artists like Jean DuBuffet, Haring developed a distinct pop-graffiti aesthetic centered on fluid, bold outlines against a dense, rhythmic overspread of imagery like that of babies, barking dogs, flying saucers, hearts, and Mickey Mouse. In his subway drawings and murals, Haring explored themes of exploitation, subjugation, drug abuse, and rising fears of nuclear holocaust, which became increasingly apocalyptic after his AIDS diagnosis. Alongside Jean-Michel Basquiat, Kenny Scharf, and Jenny Holzer, Haring is regarded as a leading figure in New York East Village Art scene in the 1970s and '80s.

American, 1958-1990, Reading, Pennsylvania, based in New York, New York