The Blueprint Drawings 9
The Blueprint Drawings 9
Signed Print
Keith Haring
£30,000-£45,000
$60,000-$90,000 Value Indicator
$50,000-$80,000 Value Indicator
¥270,000-¥410,000 Value Indicator
€35,000-€50,000 Value Indicator
$290,000-$440,000 Value Indicator
¥5,850,000-¥8,780,000 Value Indicator
$40,000-$60,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 33
Year: 1990
Size: H 107cm x W 132cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2022 | Sotheby's Online - United Kingdom | The Blueprint Drawings 9 - Signed Print | |||
| September 2015 | Christie's New York - United States | The Blueprint Drawings 9 - Signed Print |
Meaning & Analysis
Rendered in the artist’s trademark linear, figurative style, The Blueprint Drawings 9 is a print from Keith Haring’s The Blueprint Drawings series from 1990 and is a limited edition of 33. The print shows a series of events playing out across three frames, depicted in the style of a comic strip. Haring incorporates some of his most recognisable symbols in this print to form a narrative on homosexuality, otherness, violence and death.
There is a white figure and a dotted figure in the first two frames, with the dotted figure’s stomach is cut open and then penetrated by the other figure’s head. In the final frame the dotted figure grabs the stick he was cut open with and seven of Haring’s barking dog motifs appear to jump through the figure’s stomach, one by one.
Haring’s image of the figure with a hole in the stomach has come to symbolise the emptiness within us, notably in relation to the community of people so affected by the HIV/AIDS epidemic. Haring uses dots in this print to convey the otherness of homosexuality and illness, specifically AIDS, however by showing the dotted figure in the final frame reclaiming the weapon he was opened up by, Haring shows the figures as powerful and offers the viewer a sense of hope.
