Totem Print (Littmann P. 159) by Keith Haring consists of three vertically stacked woodcut panels that combine to form a monumental totemic structure. Alternating between vivid reds, yellow, greens and blues, the work merges Haring’s instantly recognisable style with references to ceremonial and tribal forms, creating one of the most striking large-scale works from his late career.

The vertical format introduces a very different spatial rhythm from the compressed energy of Haring’s Pop Shop and subway-derived imagery. Rather than unfolding horizontally through movement across the surface, the eye travels upward through layered symbolic forms and interconnected figures. Each section contains its own cluster of bodies and radiant lines, yet the stacked arrangement allows the three panels to function as a single continuous structure.

Haring had long been interested in the s of ancient and indigenous cultures, particularly the direct symbolic communication found in tribal carving, ritual objects and pre-modern mark making. In Totem Print, these references remain visible without overwhelming the work’s contemporary character. The work recalls ceremonial poles and stacked spiritual figures whilst remaining unmistakably rooted in Haring’s bold contour lines, rhythmic repetition and urban graphic energy.

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