Banksquiat depicts a Ferris wheel in which all the carriages have been replaced by Basquiat’s famous crown motif.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. 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 clearly refers to another icon of street, Keith Haring, who started his career with a series of subway drawings, rendered in chalk on empty advertising panels in the New York Metro system.

Banksquiat comments 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 publicize 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 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.

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Auction Market Overview

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2026 Auction Results

Banksquiat (Black)

Heritage Auctions: 29 January 2026
No Estimates Received – No Reserve
USD 65,625

BANKSY (b. 1974)
Banksquiat (Black), 2019
Screenprint on wove paper
Edition: 186/300
Signed and numbered in pencil along lower edge
Published by the artist

2025 Auction Results

#1. Banksquiat (Black)

SBI Art Auction: 23 May 2025
Estimated: JPY 7,000,000 – 13,000,000
JPY 8,625,000 / USD 60,505 / GBP 45,495

BANKSY
Banksquiat (Black), 2019
Screenprint
Signed and numbered on the lower part
From the edition of 300

#2. Banksquiat (Grey)

Koller Zurich: 27 November 2025
Estimated: CHF 30,000 – 40,000
CHF 30,000 (Hammer)
CHF 37,500 / USD 46,690

BANKSY (Bristol 1974–lives and works in England)
Banksquiat (Grey), 2019
Colour screenprint on sturdy cardboard
Edition: 247/300
Signed in white crayon lower right: BANKSY
Published by the artist and Gross Domestic Product (with the blind stamp and accompanying label)

#3. Banksquiat (Black)

Sotheby’s online: 26 March 2025
Estimated: GBP 30,000 – 50,000
GBP 40,640 / USD 42,426

BANKSY (b. 1974)
Banksquiat (Black), 2019
Screenprint in colors on black card
Signed in white crayon and numbered 54/300, with the artist’s blindstamp

2024 Auction Results

#1. Banksquiat (Grey)

Phillips London: 17 January 2024
Estimated: GBP 30,000 – 50,000
GBP 60,960 / USD 77,205

BANKSY
Banksquiat (Grey), 2019
Signed in white crayon, lower right
Numbered 216/300 in white crayon, lower left

#4. Banksquiat (Grey)

Christie’s online: 21 September 2022
Estimated: GBP 80,000 – 120,000
GBP 88,200 / USD 105,840

BANKSY
Banksquiat (Grey), 2019
Screenprint in colors on grey card
Signed in white crayon, numbered 271/300
Co-published by the artist and Gross Domestic Product
With the artist’s blindstamp

#5. Banksquiat (Black)

Forum Auctions: 8 November 2022
Estimated: GBP 60,000 – 80,000
GBP 58,000 (Hammer)
GBP 77,720 / USD 90,089

BANKSY (b. 1974)
Banksquiat (Black), 2019
Screenprint in colors on black card
Signed in white crayon, numbered from the edition of 300, with the artist’s blindstamp

#6. Banksquiat (Black)

Tate Ward Auctions: 1 September 2022
Estimated: 60,000 – 80,000
GBP 75,000 / USD 86,505

BANKSY (British 1974-)
Banksquiat (Black), 2019
Screenprint in colors on black card
Signed and numbered from an edition of 300 in pencil

2021 Auction Results

#1. Banksquiat (Grey)

Tate Ward Auctions: 24 March 2021
Estimated: GBP 50,000 – 70,000
GBP 103,750 / USD 144,215

BANKSY (British 1974-)
‘Banksquiat (Grey)’, 2019
Screenprint on board
Signed and numbered from an edition of 300
Bearing the Banksy Heavy Weaponry Blind Stamp
Published by the Artist

#2. Banksquiat (Black)

Tate Ward Auctions: 29 September 2021
Estimated: GBP 50,000 – 70,000
GBP 100,000 / USD 139,000

BANKSY (British 1974-)
‘Banksquiat (Black)’, 2019
Screenprint in colors
Signed and numbered from an edition of 300 in pencil

2020 Auction Results

#1. Banksquiat (Black)

Tate Ward Auctions: 27 August 2020
Estimated: GBP 35,000 – 55,000
GBP 118,750 / USD 156,750
AUCTION RECORD FOR BANKSQUIAT (BLACK)

BANKSY (British 1974-)
‘Banksquiat (Black)’, 2019
Screenprint in colors
Signed and numbered from an edition of 300 in pencil
Framed to the GDP Specifications

#2. Banksquiat (Grey)

Tate Ward Auctions: 14 October 2020
Estimated: GBP 45,000 – 55,000
GBP 105,000 / USD 138,600

BANKSY (British 1974-)
‘Banksquiat (Grey)’, 2019
Screenprint on grey board
Signed and numbered from an edition of 300 in white pencil
Bearing the Banksy Heavy Weaponry Blind Stamp
Framed to the GDP Specifications