rinter’s proof 1 of 5, aside from the edition of 30 and ten artist’s proofs. Signed and dated by Keith Haring in pencil lower right and additionally signed by Andy Warhol in pencil lower left. The fourth and final plate from the portfolio of four screenprints, published by George Mulder, New York.

Created in 1986, Andy Mouse belongs to one of Keith Haring’s most celebrated print portfolios and pays affectionate tribute to his friend and mentor Andy Warhol. Across four large-scale screenprints, Haring combines the instantly recognisable silhouette of Mickey Mouse with Warhol’s carefully constructed public persona and the commercial imagery associated with Pop Art. This impression is especially notable as a printer’s proof signed by both artists.

In this final plate, Andy Mouse occupies a frontal and symmetrical position at the centre of the composition. The character’s oversized ears, gloved hands and exaggerated shoes recall the familiar proportions of Disney animation, while his carefully styled wig and dollar-sign emblem identify him unmistakably with Warhol. Haring’s broad black outlines contain flat passages of vivid colour, giving the figure the direct visual force of a cartoon, advertisement or public sign.

Haring met Warhol during the early 1980s, and their friendship developed through a shared interest in popular imagery, mass production and the removal of boundaries between high art and commercial culture. Both artists also admired Walt Disney and recognised the extraordinary communicative power of familiar cartoon characters. By merging Warhol with Mickey Mouse, Haring presents the artist not simply as an individual but as an established figure within American popular culture.

The image is both affectionate portrait and perceptive commentary upon celebrity, commerce and artistic identity. Warhol is transformed into a reproducible cultural emblem, while Mickey Mouse acquires the characteristics of an artist whose work repeatedly examined fame and consumption. Combining personal tribute with a broader reflection upon the circulation of images, Andy Mouse represents a particularly accomplished intersection of Haring’s graphic language and the legacy of Pop Art.

A detailed condition report is available upon request.