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Ernok - Unsigned Print by Jean-Michel Basquiat 2001 - MyArtBroker

Ernok
Unsigned Print

Jean-Michel Basquiat

£170,000-£250,000Value Indicator

$330,000-$490,000 Value Indicator

$300,000-$440,000 Value Indicator

¥1,520,000-¥2,240,000 Value Indicator

200,000-300,000 Value Indicator

$1,630,000-$2,400,000 Value Indicator

¥32,590,000-¥47,930,000 Value Indicator

$210,000-$310,000 Value Indicator

27% AAGR

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.

Screen print in colors, on heavy wove paper. S. 101.6 x 101.6 cm (40 x 40 in). Numbered in an edition of 85 with the Estate stamp. Signed by the executor and dated 2001.

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Track auction value trend

The value of Jean-Michel Basquiat’s Ernok (unsigned), a screenprint from 2001, is estimated to be worth between £170,000 to £250,000. Over the past five years, the hammer price ranges from £43,651 in March 2021 to £79,620 in November 2023. This artwork has shown consistent value growth, with an average annual growth rate of 27%. This is a rare piece, with an auction history of 24 total sales since its entry to the market in July 2007. The edition size of this artwork is limited to 85.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
November 2023Van Ham Fine Art Auctions Germany
September 2023Sotheby's New York United States
October 2021Sotheby's New York United States
March 2021Sotheby's London United Kingdom
October 2020Christie's New York United States
June 2016Phillips London United Kingdom
March 2016Christie's London United Kingdom

Meaning & Analysis

The letters of the name ‘Ernok’ are broken down in the top right of the print, redolent of graffiti duo SAMO’s orthographical experimentation on the walls of New York City. Moreover, the breaking down of the name evokes the way in which Basquiat broke down the SAMO name to a single S, often accompanied by a crown, in his later works.

The incompleteness of the body in Ernok recalls bell hooks’ comment that much of Basquiat’s work evokes a fear of violence and oppression: “They speak of dread, of terror, of being torn apart, ravished. Commodified, appropriated, made to “serve” the interests of white masters, the black body as Basquiat shows it is incomplete, not fulfilled, never a full image”.