Angel Ornament (Yves), 1989 by Keith Haring
Angel Ornament (Yves), 1989 by Keith Haring
Angel Ornament (Yves), 1989 by Keith Haring
Angel Ornament (Yves), 1989 by Keith Haring
Angel Ornament (Yves), 1989 by Keith Haring

Angel Ornament (Yves), 1989

Medium: gold ink on cardboard
Signature: signed, dated, and inscribed '12.6.89 K.Haring 89 "YVES" with a 'heart' verso
Framed size: 21.5 x 23.75"
Price on Request
Details
Medium: gold ink on cardboard
Year: 1989

Image size: 8.75 x 10.5"
Framed size: 21.5 x 23.75"

Signature: signed, dated, and inscribed '12.6.89 K.Haring 89 "YVES" with a 'heart' verso

About the Work

"Angel Ornament (Yves)" is a gold ink on cardboard drawing created by Keith Haring in 1989. The artwork is signed, dated, and inscribed '12.6.89 K.Haring 89 "YVES" with a 'heart' verso. The artwork ships framed in a contemporary black frame and has a framed size of 21.5 x 23.75".

Created in December 1989, "Angel Ornament (Yves)" is one of Keith Haring's rare hand-drawn, hand-cut Christmas ornaments, executed in gold ink on cardboard during the final months of his life. Taking the form of one of Haring's iconic angel figures—with outstretched wings and a body animated by his unmistakable rhythmic line—the work transforms one of his most recognizable symbols into an intimate, deeply personal object. Designed to be hung, the ornament is signed, dated, and inscribed on the reverse: "12.6.89 K. Haring 89 'YVES' ♥."

Unlike Haring's murals, subway drawings, and editioned prints that brought his imagery into the public sphere, this ornament belongs to a far more private body of work. Modest in scale and handmade in character, it invites close viewing and carries the immediacy of the artist's own hand.

By December 1989, Haring was living with AIDS and acutely aware that his time was limited. He had endured the loss of many friends and collaborators, including Andy Warhol in 1987 and Jean-Michel Basquiat in 1988. The inscription "Yves" is widely understood to refer to Yves Arman, one of Haring's closest friends and strongest supporters, who died in a car accident earlier in 1989. In this context, the angel transcends its familiar role in Haring's visual vocabulary to become a symbol of remembrance, protection, and enduring friendship.

It remains unknown whether ornaments such as this were intended as gifts or created as personal acts of memorialization. That ambiguity only deepens their emotional resonance. Whether conceived for someone else or kept close by the artist himself, "Angel Ornament (Yves)" reflects a profoundly human impulse to honor those who mattered most.

What makes the work so compelling today is its quiet intimacy. Using only cardboard, gold ink, and string, Haring distilled the themes that defined his final years—love, loss, memory, and hope—into a remarkably direct expression. Though small in scale, the ornament carries the emotional weight of a much larger work, offering a rare glimpse into the personal side of an artist best known for his public voice.

Accompanied by its heartfelt inscription, "Angel Ornament (Yves)" stands as both a work of art and a tribute. It preserves a deeply personal moment from the closing chapter of Haring's life, reminding us that some of his most moving creations were not monumental murals, but handmade gestures of affection and remembrance.

About the Artist

Keith Haring (1958 – 1990) rose from New York’s subways in the early 1980s to become one of the most recognizable artists of the late 20th century. His bold lines and iconic figures—radiant babies, barking dogs, dancing silhouettes—bridged street culture and high art, carrying urgent messages about equality, public health, and community. Collaborating across fashion, music, and design, and through his Pop Shop, Haring pioneered the idea that art should be accessible to all. In his short career, he addressed issues from AIDS awareness to apartheid, leaving behind a legacy both playful and profoundly political. Today his works are held by leading institutions including MoMA, the Whitney, the Centre Pompidou, and the Stedelijk, and continue to command strong demand in the international market. Haring’s vision remains as resonant as ever: art as a universal language, alive with optimism and activism.

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