Jawbone Of An Ass
Jawbone Of An Ass
Unsigned Print
Jean-Michel Basquiat
£40,000-£60,000
$80,000-$130,000 Value Indicator
$70,000-$110,000 Value Indicator
¥390,000-¥580,000 Value Indicator
€50,000-€70,000 Value Indicator
$420,000-$640,000 Value Indicator
¥7,780,000-¥11,680,000 Value Indicator
$50,000-$80,000 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.
Medium: Screenprint
Edition size: 85
Year: 2004
Size: H 108cm x W 155cm
Signed: No
Format: Unsigned Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2024 | Christie's New York | United States | |||
| September 2023 | Sotheby's London | United Kingdom | |||
| April 2021 | Cornette de Saint Cyr Brussels | Belgium | |||
| March 2021 | Sotheby's London | United Kingdom | |||
| October 2019 | Phillips New York | United States | |||
| October 2019 | Christie's New York | United States | |||
| April 2019 | Christie's New York | United States |
Meaning & Analysis
Jawbone Of An Ass is a 2004 screen print in colours by Jean-Michel Basquiat from a collection of the same name. Many of Basquiat’s works attest to his encyclopaedic and transgressive cultural knowledge, which sees a diverse range of historical references brought into close proximity. Moments of ancient history such as the Punic Wars are referenced next to events from the recent past. Extensive timelines are thus forcefully compressed within Basquiat’s canvases and prints. As Jeffrey Dietch writes: “He vacuums up cultural fallout and spits it out on stretched canvas, disturbingly transformed”.
Even if the textual references of Jawbone Of An Ass are largely historical, social commentary linked to the present day bubbles under the surface. Next to the title at the top of the image reads ‘sbestos’, linking this piece to the anti-capitalist sentiment of Per Capita and Rinso through its allusion to the Asbestos scandal.
The crowd of figures which surround the central piece of text are ambiguously rendered, appearing to spectate on the historical figures, events and places which populate the text. The pair appearing to throw punches in the bottom-right of the image evoke not only the violence of the conflicts mentioned, but also recalling Basquiat’s fascination with the world of boxing, as documented in prints like Boxer Rebellion.