Keith Haring, ‘Red-Yellow-Blue #7’, 1987, Sotheby's: Contemporary Art Day Auction

From the Catalogue

"My [paintings] don't try to imitate life, they try to create life, try to invent life. That's a much more so-called primitive idea, which is the reason that my [paintings] look like they could be Aztec or Egyptian or Aboriginal or all these other things and why they have so much in common with them. It has the same attitude...inventing images. You're sort of depicting life, but you're not trying to make it life-like." —Keith Haring

Courtesy of Sotheby's

Signature: signed, titled and dated Jan 11. 1987 on the overlap

Tony Shafrazi Gallery, New York
Galerie Hans Mayer, Düsseldorf
Christie's, New York, 21 November 1996, Lot 317
Acquired from the above sale by the present owner

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