Olympic
Olympic
Signed Print
Jean-Michel Basquiat
£24,000-£35,000
$45,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥210,000-¥300,000 Value Indicator
€27,000-€40,000 Value Indicator
$240,000-$350,000 Value Indicator
¥4,040,000-¥5,890,000 Value Indicator
$30,000-$45,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
2017 screen print in colours on 300gm Somerset Satin paper. Numbered in an edition 50. Stamped and signed by the administrators of the Jean Michel Basquiat Estate. Sheet: 56 x 76cm.
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2021 | Tate Ward Auctions - United Kingdom | Olympic - Signed Print | |||
| March 2019 | Poly Auction Hong Kong Limited - Hong Kong | Olympic - Signed Print |
Meaning & Analysis
Olympic is a screen print in colours from 1982 by Jean-Michel Basquiat. Sporting greatness is a constantly revisited theme in the Basquiat oeuvre, present in works such as Boxer Rebellion, Cassius Clay and St. Joe Louis Surrounded by Snakes, yet most of the elements within Olympic appear unrelated to the sporting theme of its title. As a whole, the work points to the erasure and stereotyping of Black identities in American society.
A sinister canine figure lurks at the top right of the image, humanised with a bowler hat, next to text reading ‘Walt Disney’, suggestive of the Hollywood thematics of works such as Hollywood Africans. References to soap abound, as well as drawings of soap bars which brush up against references to cockroaches, suggesting a conflict between a restless underworld and a conflicting, decontaminating force.
Various layers of paint in contrasting tones compete against each other, indicating a canvas that was reworked over time. A singular ‘S’ is repeated across the image in an upturned triangle, most likely a reference to SAMO, the graffiti duo to which Basquiat belonged before his move into the gallery world.
