Keith Haring

Carved plywood, painted in colors, 184 x 56 x 5 cm (72 x 22 x 2 in). Edition of 35, signed and numbered. 
 

Keith Haring’s Totem series, which includes only three editions, all created for Edition Schellmann, is a vibrant and powerful exploration of primal symbols and human connection, reflecting his signature style and deep engagement with contemporary culture. Produced in the 1980s – a period of significant social and political upheaval – these works embody Haring’s belief in art as a powerful means of communication and social transformation.
At the core of the Totem works are Haring’s iconic figures and symbols, which convey universal themes of love, unity, and spirituality. Drawing inspiration from indigenous art and ancient civilizations, he constructed his totems using bold, graphic lines and dynamic compositions that seem to radiate energy and movement. 
Renowned for their striking visual impact and timeless message of love and unity, the Totem series remains one of the artist’s most significant bodies of work.

Wall relief, cast in concrete, 180 x 56 x 5 cm (71 x 22 x 2 in). Edition of 25, signed and numbered.

This work from the Totem series – a series that includes only three editions, all of which Keith Haring created for Edition Schellmann – is made from concrete and represents a muted, monochromatic counterpart to his colorful Totem made from wood. Produced in the 1980s, a period of significant social and political upheaval, all the Totem works embody Haring’s deep engagement with contemporary culture and his belief in art as a powerful means of communication and social transformation. Haring drew inspiration from indigenous art and ancient civilizations, and arranged his iconic figures and symbols in dynamic compositions to convey universal themes of love, unity and spirituality. 
Renowned for their striking visual impact and timeless message of love and unity, the Totem series remains one of the artist’s most significant bodies of work.

Three-part woodcut on Inshu-Kozu Japanese paper 70g, each sheet 65 x 89 cm, overall size 191.5 x 89 cm (75½ x 35 in). Edition: 60, signed and numbered on bottom print.
 

For his Totem series, Keith Haring drew inspiration from indigenous art and ancient civilizations to construct a dynamic composition of his iconic figures and symbols and bold, graphic lines. Created in the 1980s, a period of significant social and political upheaval, all three Totem editions that Haring created for Edition Schellmann embody his deep engagement with contemporary culture and his belief in art as a powerful means of communication and social transformation. Each version, however, has its own distinct style: one is a vibrant, colorful object made from wood, one its muted, monochromatic counterpart made from concrete, and this one is a three-part woodcut drawing on paper, where the black print in the center is framed by a bold red print at the top and bottom, respectively. 
The Totem works are considered one of Haring’s most significant bodies of work, with this woodcut edition being part of the collection of the Museum of Modern Art, New York. 

Four different anodized aluminum plates, 104 x 144 x 3 cm each (41 x 56½ x 1 in). Edition of 30, signature and number etched on verso.

Keith Haring’s Pyramid edition from the 1980s illustrates his endeavor to merge universal symbolism with his distinctive, dynamic visual language. The pyramid, an archetypal symbol with deep spiritual and cultural significance, is transformed in Haring’s interpretation into an emblem of movement, vitality, and human connection. His iconic figures – crawling babies, barking dogs, and dancing figures – permeate the composition, adding narrative depth and social relevance. The choice of anodized aluminum as a medium enhances the vibrancy of the colors and emphasizes the crisp linearity of the forms.

Anodized aluminum sculpture, 144 x 144 x 75 cm (56½ x 56½ x 29½ in). Edition of 15, signature and number etched on verso.
 

Keith Haring’s Pyramid Sculpture is a monumental edition that integrates the archetypal pyramid form into his iconic visual language. As a recurring motif in his work, it merges archaic symbolism with the dynamic aesthetics of 1980s street art. The three-dimensional object, composed of four anodized aluminum panels, reflects Haring’s densely interwoven compositions. Inspired by pharaonic tombs, he places individual figures atop the pyramid’s peaks, where they sit like deities above a labyrinthine network of symbols. Pyramid Sculpture combines historical references with a contemporary visual style, showcasing Haring’s engagement with universal symbolism.

Grano lithograph on rag paper, 114 x 90 cm (45 x 35 in). Edition of 40, signed and numbered.
 

Keith Haring often used animals in his art to convey emotional and social messages, and the dog was one of his favored symbols. While Haring’s dogs usually represent dynamic, playful and loyal characters, the barking dog – first conceptualised in his early Subway Drawings – is often depicted as an alert or aggressive figure, symbolising emotional expression and the artist’s vocal activism around social justice, human rights, and the AIDS crisis. Fascinated by the idea of creating modern day hieroglyphs that could easily be understood by all, Keith Haring drew inspiration from many different cultures, including ancient Egypt. The large, standing dog he created for Edition Schellmann – once as a plywood multiple and once as a lithograph – is reminiscent of Anubis, the ancient Egyptian god of death and the afterlife, who was part canine. Inside the outlines of Haring's creature is a rich tapestry of smaller scenes comically representing sex, violence, control and chaos.

From For Joseph Beuys
Silkscreen on natural or white canvas, 80 x 60 cm (31½ x 23 in). Edition of 90 + XXX, signed and numbered.

Keith Haring created this edition to commemorate Joseph Beuys' death in 1986. The work is part of a group portfolio, edited by Jörg Schellmann and Bernd Klüser – long-time companions of Beuys who had worked with him on exhibitions, publications and editions since 1969 – that honors Beuys’ artistic legacy.

Hardcover book by Brion Gysin, rag paper, with collotype illustrations by Haring, cloth bound, in slipcase, 22 x 29 x 4 cm (8.75 x 11.5 x 1.5 in). Edition of 200 + 25 A.P., signed by Haring, signature stamp by Gysin, numbered.

"In 1985, Keith had made a series of drawings for a text by Brion Gysin and wanted to turn this material into a book. However, he did not succeed in finding a publisher due to the heavy sexual imagery in his drawings. So he asked me if I could recommend a publisher in Germany. When I looked at the drawings, I could see the problem, but spontaneously offered to publish the book myself if Keith were to do an object in an edition for me - assuming that the book would hardly pay for its printing costs. Keith was very pleased and promised to come up with something – which indeed he did: he made the Dog multiple. As expected, the book sold slowly over the years, whereas the Dog garnered great popularity over the 30 years of its existence." – Jörg Schellmann

Set of 3 lithographs with collotype on rag paper, 81 x 100 cm (31¾ x 40 in). Edition of 60, each signed and numbered.

Free South Africa was Keith Haring’s response to the atrocities and racial segregation of Apartheid in South Africa. The black figure in this edition series is intentionally much larger than the white figure to express the absurdity of a white minority suppressing a majority indigenous Black population. The three-part lithograph series is one of Haring’s most poignant works with a socially critical reference. Using his unmistakable visual language that includes dynamic characters and motion lines surrounding them, he illustrates the energetic fight taking place and visualises the captured black figure’s eventual win over its suppressor. The series illustrates Haring's consistent effort to use art as a means of activism by making complex social issues accessible in a universal visual language.
In 1986, he used the image to print thousands of posters, which he then distributed in New York City in an effort to mobilize support against Apartheid.

In a March 28, 1987, journal entry, Haring wrote: “Control is evil. All stories of white men's ‘expansion’ and ‘colonization’ and ‘domination’ are filled with horrific details of the abuse of power and the misuse of people.”

Suite of three lithographs with collotype on Rives BFK rag paper, 81 x 100 cm. Edition: 80 (+ 20 A.P. + 3 P.P. + 3 H.C.), each print signed, numbered and dated.

This edition was the first collaboration between Keith Haring and Edition Schellmann. Rendered in his iconic and deceptively simple style, all three compositions feature bold black lines and vibrant red accents. Haring had given each of the images a working title: Human Pyramid, Aztec and Cockfight.