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Bayer Suite 1 - Signed Print by Keith Haring 1982 - MyArtBroker

Bayer Suite 1
Signed Print

Keith Haring

£1,050-£1,600Value Indicator

$2,100-$3,150 Value Indicator

$1,900-$2,850 Value Indicator

¥9,500-¥14,500 Value Indicator

1,250-1,950 Value Indicator

$10,500-$16,000 Value Indicator

¥200,000-¥310,000 Value Indicator

$1,300-$2,000 Value Indicator

-43% AAGR

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: Lithograph

Edition size: 70

Year: 1982

Size: H 30cm x W 24cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Keith Haring's Bayer Suite 1 (signed) is estimated to be worth between £1,150 and £1,750. This lithograph print, created in 1982, has shown consistent value growth and has an auction history of one sale, which occurred on 26th June 2024. In the last 12 months, the average selling price was £1,000. Over the past five years, the average annual growth rate of this artwork has been -34%. The edition size of this artwork is limited to 70.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
June 2024Bonhams New Bond Street United Kingdom

Meaning & Analysis

Bayer Suite 1 shows an image of two genderless figures with their arms outstretched, holding up a large heart in the centre of the frame. Graphic lines radiate from the heart to give the effect that it is pulsating, and action lines are shown at the figures’ feet making them look as though they are dancing with joy. This celebratory image bursts with energy and vigour, a sensibility that makes Haring’s work so appealing and unique.

Across the series, Haring limits his colour palette to black, red and white, producing a highly simplified and stylised set of works. The simplistic form and positive visual language of Bayer Suite 1 recalls the artist’s early subway drawings, where he spent his days drawing in white chalk on the empty advertising panels of the New York subway system.

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