40 × 32 in
 in
 cm
Price: $175,000 USD
Please enquire for a custom shipping quote.
$250,000
plus shipping & taxes
An homage to the struggle of black South Africans against the oppressive practices of the white minority in Apartheid South Africa, Keith Haring’s set of large-scale of lithographs is undeniably impactful. Rarely available as a complete set, the narrative suite depicts inequality and abuse symbolized by the rope or collar around the neck of a large black figure. Both forms are depicted in Haring’s iconic cartoon-like Pop style – the black figure captured by a small white figure. Haring’s signature motion lines surrounding each character clearly indicate the energetic fight taking place, one in which it appears the looming figure finally overtakes their oppressor. Haring distributed thousands of similar posters around New York City in 1986 to help mobilize support against Apartheid.
This is a matching number set of 3 prints and must be sold together. Each print measure 32 x 40 inches and is signed, dated, and numbered.
From top left, counter clockwise:
Free South Africa #1
Free South Africa #2
Free South Africa #3
| Medium | Prints |
| Signature | Signed |
| Frame | Unframed |
| Condition | Excellent |
| Seller | Private |
| Location | USA |
| Provenance | Private Collection, USA |
Keith Haring, born on May 4, 1958, in Reading, Pennsylvania, developed a passion for drawing at an early age. He learned the basics of cartooning from his father and drew inspiration from popular culture figures like Dr. Seuss and Walt Disney. After graduating high school, Haring moved to New York City and enrolled in the School of Visual Arts.
In New York, Haring became part of a thriving alternative art scene that flourished outside traditional galleries and museums. This community of artists, musicians, performers, and graffiti writers worked in unconventional spaces like subways, clubs, and former dance halls. During this time, Haring befriended artists such as Kenny Scharf and Jean-Michel Basquiat. Immersed in the energy of this creative environment, Haring began showcasing his work at venues like Club 57 and developed a distinct style centred on the primacy of line.
In 1980, Haring discovered an innovative way to reach a wider audience when he noticed unused advertising panels covered in matte black paper in subway stations. Using white chalk, he transformed these blank surfaces into spaces for his drawings. Over the next five years, he created hundreds of these “subway drawings,” sometimes producing as many as 40 in a single day. For Haring, the subway became a “laboratory” where he refined his ideas and experimented with his bold, rhythmic lines. Commuters often paused to watch and interact with him as he worked, making his art a part of New York City’s daily life.
From 1980 to 1986, Haring gained international acclaim, participating in numerous group and solo exhibitions. His first solo show, held at the Tony Shafrazi Gallery in New York in 1982, was both a critical and popular success. During this period, Haring’s work was included in prestigious international exhibitions, such as Documenta 7 in Kassel, Germany, the São Paulo Biennial, and the Whitney Biennial. He also completed several public projects, with many created for charities, hospitals, and children’s centres, reflecting his commitment to community-oriented work.
Public art became a significant focus of Haring’s career. Between 1982 and 1989, he produced more than 50 public works in cities worldwide, often incorporating social messages. Haring used his art to advocate for causes and to bring attention to critical issues, including children’s welfare and AIDS awareness.
In 1988, Haring was diagnosed with AIDS. During the final years of his life, he used his imagery to address his illness and promote activism and awareness around the AIDS epidemic. Despite his brief but prolific career during the 1980s, Haring participated in over 100 solo and group exhibitions. His work addressed universal themes like birth, death, love, sex, and war, with a simplicity of line and directness of message that made his imagery accessible and enduring. Haring’s visual language has since become one of the most recognisable of the 20th century.
Keith Haring passed away from AIDS-related complications on February 16, 1990, at the age of 31. His legacy lives on through international retrospectives and the continued presence of his work in major museums around the world.
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