Margot Gallery, Inc., New York
Acquired by the present owner from the above in April 1987

This work is in very good condition overall. There is evidence of light wear and handling along the edges of each work, including minor nicks but no residual paint loss. Under close inspection, a few pinpoint spot and drip accretions are visible. Under raking light, minor and unobtrusive light abrasions are visible. i. There is a minor ¼-inch abrasion at the dog's backside has led to very minor paint loss and is only visible upon close inspection. ii. There are two minor hairline surface cracks measuring 1-inch each in the dog's left arm. iii. The texture of the wood is visible under raking light. There is a hairline crack approximately 2-inches from the top of the dog's legs.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Keith Haring is justifiably seen as one of the most prominent voices of his generation. Haring embraced the glamorous grittiness of East Village street and counter-culture during the eighties, enabling his work to embody all of its boundless energy and potential for radical transformation. Haring imbued Dog with all of these signature qualities but also demonstrated a more underappreciated side to his practice. Despite his captivating contemporaneity, Haring was also a keen student of art history and culture in general. In appropriating art and figures of the past to his own current interests, Haring has given us a fascinating and multi-faceted piece. Looking at both the graffiti he lived with everyday and the hieroglyphs of Ancient Egypt, Haring found a means to translate his own ideas into the visual field. The figure of the dog can be interpreted as referencing the Ancient Egyptian god Anubis. Anubis being the God of the afterlife brings with it a loaded significance amongst the AIDS-afflicted East Village community within which Haring was one of its most visible spokespersons. That the Ancient Egyptians covered many of their most magnificent architectural constructions with hieroglyphs must have seemed like an apt vindication for Haring’s own propensity for covering every surface he encountered with his signature vivacious scrawls.

Many of Haring’s most cherished and iconic motifs are found in Dog: the vibrant child, the television, the dog, and the promiscuous man all come to life. The iconography of the piece is filled with representations of multiple interactions between man and dog, often with comedic role reversals. One is also reminded of the rebellious edge of The Stooges’ I Wanna Be Your Dog; that Haring was great friends with the song’s writer and singer Iggy Pop is no coincidence and speaks volumes of Haring’s ability to transgress the barriers between art, life, and popular culture. Such broad appeal and intrepid creativity is what made him one of the most fascinating and influential figures of the eighties. Just like Haring, the three figures in Dog have a bravura and boldness to them. They seem capable of leaping into dance at any moment. The impressive energy of Dog, combined with the piece’s protean influences and interpretations, enables the work to continueꦗ resonating with relevance and impact for the conte🐼mporary viewer of today.