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Banksquiat (grey) - Signed Print by Banksy 2019 - MyArtBroker

Banksquiat (grey)
Signed Print

Banksy

£45,000-£70,000Value Indicator

$90,000-$150,000 Value Indicator

$80,000-$130,000 Value Indicator

¥440,000-¥690,000 Value Indicator

€50,000-€80,000 Value Indicator

$480,000-$750,000 Value Indicator

¥8,910,000-¥13,860,000 Value Indicator

$60,000-$100,000 Value Indicator

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70 x 70cm, Edition of 300, Screenprint

Medium: Screenprint

Edition size: 300

Year: 2019

Size: H 70cm x W 70cm

Signed: Yes

Format: Signed Print

Last Auction: February 2024

Value Trend:

-13% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
February 2024
Phillips London
United Kingdom
N/A
N/A
N/A
June 2023
Phillips London
United Kingdom
May 2023
Phillips New York
United States
February 2023
Phillips New York
United States
October 2022
Tate Ward Auctions
United Kingdom
September 2022
Christie's London
United Kingdom
July 2022
Rosebery's Fine Art Auctioneers
United Kingdom
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Track auction value trend

The value of Banksy's Banksquiat (grey) is estimated to be worth between £45,000 and £70,000. This signed screenprint, created in 2019, has shown consistent value growth, with an average annual growth rate of 9%. This artwork has an auction history of 10 total sales since its entry to the market on 14th October 2020. In the last 12 months, there have been no sales. Over the past five years, the hammer price has varied from £48,000 in February 2024 to £131,040 in March 2022. The average annual growth rate for this artwork is 9%. The edition size of this artwork is limited to 300.

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Meaning & Analysis

In this witty homage to Basquiat, Banksy offers a mirror to his own practice of appropriation as well as that of the endless wheel of capitalism and consumerism in which masterpieces are reproduced on tee shirts or rehashed for advertising campaigns.

Tellingly, Banksy’s GrossDomesticProduct gives Banksquiat the following description: 'A print made in homage to New York post-graffiti pioneer Jean-Michel Basquiat. In which Banksy is cleverly questioning the relentless commodification of Basquiat in recent times - by crassly adding to the relentless commodification of Basquiat in recent times. Two different papers - black and grey board.’

Banksquiat is a striking print depicting a Ferris wheel in which all the carriages have been replaced by Basquiat’s famous crown motif. By referencing Basquiat so openly, Banksy seems to be aligning himself with the tradition of street art as high art, which arguably has its origins in the work of Basquiat whose career was launched by his many interventions in the urban environment, as part of a graffiti duo he founded with Al Diaz on Manhattan’s Lower East Side in the late 70s. Similar to Banksy’s modus operandi, the pair would tag the streets of New York with satirical and often overtly critical messages, all accompanied with the tag SAMO – standing for ‘same old shit’ – accompanied by an ironic copyright symbol.

Banksy makes further reference to street art history by choosing to print his design in grey with the crowns outlined in a chalky white against a black ground. This decision recalls another icon of street – and Pop – art, Keith Haring, who made his name with a series of ‘subway drawings’, rendered in chalk on empty advertising panels in the New York Metro system.

While it can be said to be looking back, the work is also strikingly contemporary, commenting on the excesses of late capitalism that allows artworks to be commodified. At the same time, there is a paradox at play; in order for art to be accessible to all – which is perhaps central to Banksy’s mission as an artist, as well as that of Haring and even also Basquiat – art must be reproduced and shared rather than held ransom by a handful of the elite who own the original artwork or the intellectual property. In this way, Banksy cleverly comments on, as the original website description puts it, ‘the relentless commodification of Basquiat in recent times – by crassly adding to the relentless commodification of Basquiat in recent times.’

This commodification of artworks was exemplified by the opening of Gross Domestic Product itself, which began life as a showroom in Croydon in October 2019, intended to publicise the launch of a new online Banksy ‘homewares brand’. While thousands of fans attempted to buy something from the store, many were disappointed as they found that GDP did not operate as a traditional retail model but instead required the prospective buyer to enter a kind of lottery system in order to acquire one of the products. In this way Banksy opened the floodgates to the commodification of his own work while still retaining a certain amount of control over who his primary sales went to.

  • Renowned British street artist, Banksy, is the enigmatic figure behind some of the most subversive works in the Urban Art scene. Despite his anonymity, the artists' disruptive stunts have not only gained him notoriety, but they have vocalised his stance on many social and political issues. As seen with the likes of Girl With Balloon and Napalm, Banksy uses his distinctive stencil technique to produce thought-provoking commentaries on challenging themes. The showcase of rebellion that lines his work has caused his secondary market value to soar in recent years, propelling him to the top of the Urban Art scene.