KEITH HARING

FALL 2019
EARLY INVITATIONS
During his earliest years in New York City (1978-1981), Keith Haring designed,
printed, and hand cut numerous flyers and invitations for his exhibitions, including
the legendary one-night only installations at Club 57. Most of these materials
were distributed by hand, occasionally stapled or wheat pasted to facades,
fewer were sent by mail. Not unlike his early xerox art and chalk subway drawings,
these pieces were meant to be ephemeral, therefore surviving examples are
exceptionally rare.
1 OPEN STUDIO EXHIBITION P.S. 122 1980 An original announcement card to Haring’s historic
open studio at P.S. 122, which ran from October
Offset lithograph 18–19, 25–26 and November 1–2, 1980. P.S. 122 was
4 ¼ x 5 ½ inches founded that same year in the abandoned Public
10.8 x 14 cm School 122 building at 150 First Avenue and East 9th
Street in the East Village. One of the first documented
exhibitions of Keith Haring’s artwork in NYC, hence
one of the earliest known pieces of Haring ephemera.

An extremely well-preserved example with crisp

corners and minor rubbing on recto.
2 KEITH HARING: NEW DRAWINGS / CLUB 57 c. 1981

Transparency
3 x 4 inches
7.6 x 10.2 cm

Original transparency / announcement card for Keith

Haring’s one night show of new drawings at Club 57.
Starting in 1980, Haring began organizing events and
exhibitions at Club 57, a nightclub and artists space in
the basement of a Polish church on St. Mark’s Place.
It was around this time that Haring began to develop
his most recognized symbol, the “Radiant Baby”.

This transparency is a previously unseen and

potentially unique variant of the announcement card
for the same show.

Card shows faint scratching, which affects some

of the text near the lower left corner. Else near fine,
especially considering the particular nature of the
piece.
3 DES REFUSES / WESTBETH PAINTERS SPACE 1981

Postcard
4 x 5 ¼ inches
10.2 x 13.3 cm

Original hand cut invitation for the exhibition Des

Refuses at Westbeth Painters Space, advertised as
Haring’s “first one-man show in New York City.” Hand
addressed by Keith Haring to Tony Shafrazi in 1981,
thus an early example documenting the beginning
of a relationship that would catapult Haring to the
forefront of the international art world. One year later,
in 1982, Haring would have his first show at Shafrazi’s
former gallery space at 163 Mercer Street in Soho.

The card is quite well-preserved with minor age

toning.
 The public needs art, and it is the responsibility of a “self-proclaimed artist”
to realize the public needs art, and not to make bourgeois art for a few and
ignore the masses…. If the public is afraid of art, should we (artists) be afraid
of what we have done to make the public afraid of art?

– Keth Haring, journal entry, October 14, 1978

4 REAGAN ACCUSED OF TV STAR SEX DEATH 1980

Xerox
11 ¼ x 14 inches
28.6 x 35.6 cm
(Framed)

Created just over a year after Haring moved to New

York City, his xeroxed collages are rarely seen and
offer a fresh glimpse into the beginnings of the artists’
public and political engagement. This example was
created by cutting up headlines from the New York
Post to skewer the newly elected president Ronald
Reagan. The original collages were included as part
of Haring’s 1980 installation at P.S. 122, while xeroxes
such as this one were used in his earliest guerilla art
campaigns.

In very good condition considering the scarcity of

these xeroxes.
5 NUCLEAR DISARMAMENT 1982

Offset lithograph
24 x 18 inches
61 x 45.7 cm

Haring designed this poster in 1982 in conjunction

with a New York City Anti-Nuclear Rally, featuring his
iconic “Radiant Baby” in a mushroom cloud. An early
example of his engagement with social issues, which
for many would come to define him as an artist.

Exceptionally well-preserved with no pinholes. There

is some bumping to the center of the top edge, else in
near fine condition.
6 ANDY WARHOL c. 1985

Silver gelatin print

16 ¾ x 14 ¾ inches
42.5 x 37.5 cm
(Framed)
Signed in recto by Haring (pen), verso by Warhol

Keith Haring with a water pistol, putting on his

most convincing glower, as photographed by Andy
Warhol. A striking and wry image, given Warhol’s near
death as brought by a pistol, and Haring’s lifetime
movements against violence in all forms.

Signed by both, especially uncommon thus. A rare

example of Warhol signing one of his silver gelatin
prints. A photograph of Warhol’s signature is affixed
to the back of the frame for reference.

In nearly fine condition, framed in UV protected

museum acrylic.
7 INTERVIEW WITH KENNY SCHARF AND
KEITH HARING 1984

Typewriter on paper (probable xerox copy) bound

with silver prong fastener
60 sheets
11 x 8 ½ inches
27.9 x 21.6 cm

Original unpublished transcription of Keith Haring Some light staining and age toning to the first and last
interviewing Kenny Scharf in 1984, recorded on pages and a slight creasing to the first three pages.
one of Scharf’s customized radios. Presumably Interior pages are clean and unmarked. Overall, a
transcribed by the company “Soho Typing”, the text well-kept piece of scholarly ephemera, which gives
follows a casual interview between the two friends us a rare, unedited view of Scharf and Haring’s
in an intimate setting. The two artists recall their time friendship.
at SVA together, including an anecdote about how
Scharf wrote a fake note for Jean-Michel Basquiat to
join in on their classes. Scharf also speaks in detail
about his “customization” process and various
philosophies about painting and art making. An
interesting and telling conversation.
 “I find the most interesting situation for me is when there is no turning back.
Many times I put myself in situations where I am drawing in public. Whatever
marks I make are immediately recorded and immediately on view. There are no
‘mistakes’ because nothing can be erased.”

– Keith Haring, Flash Art International, March 1984

8 PAUL MAENZ 1984

Galerie Paul Maenz, Cologne

Trifold lithograph
8 ½ x 8 inches
21.6 x 20.3 cm

Small trifold booklet published to announce Haring’s

1984 solo exhibition at Paul Maenz gallery in Cologne,
his first solo show in Germany. Includes five full page
illustrations and a German translation of Haring’s 1984
interview in Flash Art International.

Extremely bright and well preserved copy with just a

bit of surface wear to the covers.
9 ART AREA 1985

Area, New York

Offset lithograph
10 x 8 inches
25.4 x 20.3 cm

Original invitation for an event on May 8, 1985 called

“Art Area” at Area nightclub, 157 Hudson Street,
NYC. The invitation features a photograph by Michael
Halsband, which shows a group of artists at the now
famous New York restaurant and art world hangout,
Mr. Chow’s.

Those pictured include Michael Heizer, David

Hockney, Leroy Nieman, Dennis Oppenheim, Stefano,
Bill Wegman, John Chamerblain, Andy Warhol,
Julian Schnabel (not participating in the Area event),
Armand Arman, Alex Katz, Keith Haring, Kenny Scharf,
Tony Shafrazi, Red Grooms, Jean Michel Basquiat,
Francesco Clemente, Robert Mapplethorpe, Ronnie
Cutrone, Sandro Chia. Other participating artists
were Nam June Paik, Jennifer Bartlett, Jack Goldstein,
Jenny Holzer, Barbara Kruger, Les Levine, Sol Le Witt,
Marisol, Peter Max, Meredith Monk, Larry Rivers,
Survival Research Labs, Mark van den Broek, Tom
Wesselman, Greer Langton.

This invitation offers complimentary admission, while

most others advertised $15 entry. Quite scarce in
any condition, this particular copy is remarkably
well preserved with square corners and no visible
markings.
10 SPLASH MAGAZINE 1986 Invite and admission pass for the New York Premiere
of Splash Magazine held at Area, featuring a typically
Area, New York adventurous line up of personalities. Haring, Timothy
Offset lithograph Leary, Peter Max, Warhol superstar Ultra Violet and
7 × 5 inches Syd Solomon served as hosts for the launch of issue
17.8 × 12.7 cm number six of the magazine. The photo of a paint
splattered Haring is credited to Annie Leibovitz.

Near fine.
11 KEITH HARING, JEAN-MICHEL BASQUIAT, ROY
LICHTENSTEIN, YOKO ONO, ANDY WARHOL 1985

Rain Dance Benefit

United States Committee for UNICEF
Offset lithograph
33 ½ x 24 ½ inches
85.1 x 62.2 cm
(Framed)
Signed by all artists
Presumed Edition of 100

Collaborative poster designed by Keith Haring, Andy

Warhol, Jean-Michel Basquiat, Roy Lichtenstein
and Yoko Ono for the 1985 Rain Dance benefit for
UNICEF’s African Emergency Relief Fund at Paradise
Garage, curated and organized by Haring. The artists
present different perspectives on rain as a theme,
with Lichtenstein’s graphic oblique lines, Warhol’s
umbrellas, Haring’s rain dance, Basquiat’s “reign”,
and Ono’s footsteps, which illustrate Africans’ having
to walk long distances to reach water sources.

One of approximately 100 impressions that were

signed in ink by all five artists.

Near fine, framed in UV plexiglass.

12 HAMMARSKJOLD PLAZA
SCULPTURE GARDEN 1986

National Endowment for the Arts, New York

Postcard
4 x 9 ¼ inches
10.2 x 23.5 cm

Original postcard announcing an exhibition of two of A very bright and clean copy with no visible markings
Haring’s sculptures, one untitled and the other called besides two very small pinhole marks to the lower left
“Blue Curling Dog” on display at Dag Hammarskjold corner.
Plaza in Manhattan from January 20–May 4, 1986. The
sculptures were also displayed in Riverside Park from
May 1988 to May 1989.
13 INTERNATIONAL VOLUNTEER DAY
(CACHET FIRST DAY COVER) 1988

World Federation of United Nations

Associations (WFUNA)
Printed postal envelope
3 ½ x 6 ½ inches
8.9 x 16.5 cm
Signed

Original printed postal envelope exceptionally hand

signed in black marker by Keith Haring. Published by
the World Federation of United Nations Associations
(WFUNA) to celebrate International Volunteer Day
(Journée Internationale des Volontaires). Bears the
artist’s printed copyright “K. Haring February 27,
1988” and stamped with a seal from the WFUNA.

Lacking the editioned lithograph, but still a collectible

example of signed Haring ephemera in extremely well-
preserved condition.
14 TALK TO US / ¡LLAMANOS! 1989
New York City Department of Health
Offest lithographs (English and Spanish)
17 x 11 inches
43.2 x 27.9 cm (each)
Striking examples, in both English and Spanish, of
Haring’s advocacy work. Designed by the artist one
year after his own AIDS diagnosis, these flyers were
hung throughout the city to raise awareness and help
direct those in need of assistance.
The first public hotlines for HIV and AIDS were
created by Rodger McFarlane at Gay Men’s Health
Crisis, while the ones advertised in these posters
were formed around 1986 by the city of New York.
Hotlines were incredibly important as misinformation,
marginalization, bias and bigotry was rampant in
regards to the crisis.
From an unknown edition size, printed by the New
York City Department of Health.
Extremely scarce in any condition, as these were
intended for public display.
Near fine.
15 GRAN FURY / ACT UP 1989

Know Your Scumbags

Offset lithograph mounted on linen backing
26 x 25 inches
66 x 63.5 cm

Similar in style and tone to his early xerox pieces, this

poster is credited as inspiring Keith Haring to become a
member of ACT UP (AIDS Coalition To Unleash Power).
Soon after, Haring created one of his most lasting and
impactful works of art, “Ignorance = Fear / Silence =
Death”.

In very good condition, mounted on linen backing with

tape marks and some wear, as this particular example
was used at an ACT UP rally.
16 COME TO MY PARTY (THE PRINCE VON THURN Privately pressed record designed by Keith Haring as The record plays two tracks, an english and german Vinyl is near mint with no visible flaws.
UND TAXIS INVITES YOU FOR PRINCESS GLORIA’S an invitation for Gloria von Thurn und Taxis’ birthday version of an R&B inspired song performed by the
BIRTHDAY PARTY!) 1986 party on April 15th, 1989 at Regensburg Palace Princess. Sleeve is quite bright with some creasing and wear.
in Germany. An intriguing commission, given Von
Vinyl picture disc with sleeve Thurn’s turn from the “Punk Princess” into a born This work is extremely rare as it was never sold to
7 ⅛ x 7 ⅛ inches again Roman Catholic after the dissipation of her vast the public and only given out as invitations to special
18.1 x 18.1 cm wealth following the death of her husband in 1990. guests.
Edition of 250
17 MERRY SWATCHMAS 1990

The Official Swatch Collector’s Club

Illustrated plexiglass and printed on metal, bound with
ribbon
5 ½ x 3 ½ inches
14 x 8.9 cm

Holiday “card” from Swatch, a frequent collaborator

with Haring, dated 1990, the year of his passing. The
plexi cover handsomely depicts a classic swatch
design and lifts to reveal Haring’s work in black
on a silver metal plate. In the lower corner the “In
Memory….” shows the company’s appreciation for
the artist.

Stamped “078” from an unknown edition size.

Information on this piece is scarce at best.

Nearly fine with a small hairline scratch to the white

portion of the plexi as well as a small indentation to
verso of the metal plate.
18 ICONS 4 1990

Tony Shafrazi Editions, New York

Silkscreen with embossing on Arches cover paper
32 ¼ x 44 ¼ inches
81.9 x 112.4 cm
(Framed)
Signed Printer’s Proof

An uncut printer’s proof from the Icons series which

Haring produced with Tony Shafrazi Gallery in 1990.
Printed by Studio Heinrici, Ltd., NYC.

Haring passed away during the production of this

portfolio, which was posthumously released in an
edition of 250, numbered and dated by Julia Gruen,
executor for the Keith Haring Estate. At this time, the
printer’s proofs are the only known examples from this
series hand signed by Haring—and perhaps the very
last works to be signed by the artist in his lifetime.
The artist signed the proof twice, testing his signature
placement for the finished prints.
This untrimmed proof is printed on Arches cover
paper measuring 29 x 41 inches. In this example, the
interior yellow background measures 23 x 27 inches,
whereas the published edition of 250 was trimmed to
21 x 25 inches, cropping the image by one inch on all
sides.

The additional yellow background, along with the

bordering white space, give this piece a unique
dynamism concealed from the posthumously
editioned portfolio.

Framed in UV protected museum acrylic.

19 BOWERS MEMORIAL TRIBUTE 1990

Single fold pamphlet

8 ½ x 5 inches
21.6 x 12.7 cm

Memorial card handed out on the occasion of Slight spots of foxing to cover, gutter and verso, else
Haring’s memorial service at the Hope Evangelical sharp and nearly fine.
Lutheran Church of Bowers, Pennsylvania. This family
arranged memorial preceded the larger one held at
the Cathedral of Saint John the Divine in May of the
same year. Featuring videotapes and slides of his
work for attendees to view while celebrating Haring’s
life in the small Pennsylvanian town a mile or so from
where he grew up.
1 OPEN STUDIO EXHIBITION P.S. 122 $3,000

2 KEITH HARING: NEW DRAWINGS / CLUB 57 $5,000

3 DES REFUSES / WESTBETH PAINTERS SPACE $5,000

4 REAGAN ACCUSED OF TV STAR SEX DEATH $15,000

5 NUCLEAR DISARMAMENT $2,000

6 ANDY WARHOL PORTRAIT OF KEITH HARING $30,000

7 INTERVIEW WITH KENNY SCHARF $600

8 PAUL MAENZ $400

9 ART AREA $5,000

10 SPLASH MAGAZINE $500

11 RAIN DANCE BENEFIT $12,000

12 HAMMARSKJOLD PLAZA SCULPTURE GARDEN $250

13 INTERNATIONAL VOLUNTEER DAY $750

14 TALK TO US / ¡LLAMANOS! $4,000

15 KNOW YOUR SCUMBAGS $3,000

16 COME TO MY PARTY $5,000

17 MERRY SWATCHMAS $2,250

18 ICONS 4 $40,000

19 BOWERS MEMORIAL TRIBUTE $750

For more information, please contact Bryan Leitgeb, Hope Christerson, or Matt Folden at info@mastbooks.com.
 © 2019 Mast Books
Catalogue design by Hope Christerson