Godless
Godless
Signed Print
Damien Hirst
Price data unavailable
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: Digital Print
Edition size: 25
Year: 2011
Size: H 160cm x W 122cm
Signed: Yes
Format: Signed Print
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2021 | Bonhams New Bond Street - United Kingdom | Godless - Signed Print | |||
| November 2015 | Sotheby's London - United Kingdom | Godless - Signed Print | |||
| February 2012 | Phillips London - United Kingdom | Godless - Signed Print |
Meaning & Analysis
Godless is a signed chromogenic print in colour mounted on aluminium produced by renowned contemporary artist, Damien Hirst. The print, made in 2011, shows one of Hirst’s installations in which the artist arranges various tablet boxes and medicine bottles on the shelves of a medicine cabinet. The boxes and bottles all differ in shape, size and colour, however are arranged meticulously, bringing a scientific precision to the artwork.
Hirst has had a longstanding interest in medicine and its depiction in art, as well as modern society’s obsession with pharmaceuticals and their healing powers. Medicine and pharmaceutical products often feature in the artist’s works. Whilst in his second year at Goldsmiths in 1988, Hirst began his Medicine Cabinets series, in which the artist constructed various cabinets filled with the empty packets of his grandmother’s medication, like the one seen in this print. Through the incorporation of medicine into his artworks, Hirst is able to pursue wider themes of life, death and mortality.
Hirst has continued to explore the theme of modern medicine in his artworks, notably in series such as Eat the Rich and The Cure. Through doing this, Hirst blurs the boundaries between art and science, demanding that the two are not seen as opposing disciplines.