Jojoba Bean Oil
Jojoba Bean Oil
Signed Print
Damien Hirst
£7,500-£11,000
$15,000-$22,000 Value Indicator
$13,500-$20,000 Value Indicator
¥70,000-¥100,000 Value Indicator
€9,000-€13,000 Value Indicator
$70,000-$110,000 Value Indicator
¥1,480,000-¥2,160,000 Value Indicator
$9,500-$14,000 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: Woodcut
Edition size: 55
Year: 2011
Size: H 31cm x W 31cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2021 | Palm Beach Modern Auctions | United States |
Meaning & Analysis
Jojoban Bean Oil is a woodcut print from Damien Hirst’s 40 Woodcut Spots series from 2011. The print is a square composition with four circles positioned in each corner. Set against a plain white backdrop, the spots are depicted in flattened colours of green, blue, orange and red. Using contrasting colours and a methodical composition, this print is an exploration of colour and form that is distinctly Hirstian.
The 40 Woodcut Spots series is reminiscent of Hirst’s vast series of spot paintings, of which there are over 1000 in existence, dating from 1988 to 2011. The spots represent abstraction reduced to its most basic mechanisms: colour, form and composition. The grid formula for these paintings is the basis for an unbounded series where Hirst can infinitely explore harmonious and contrasting colour combinations.
The titles, based on the names of chemical compounds, are also abstract in their lack of signification of something tangible in the world. Rather the chemical name evokes a nondescript powder or pill and there is an incessant endlessness to the series. The circles are printed in flat, block hues and no colour is repeated twice on the same canvas. Hirst in 2000 remarked on the impact of an installation of multiple spot paintings, “it’s an assault on your senses. They grab hold of you and give you a good shaking. As adults, we’re not used to it. It’s an amazing fact that all objects leap beyond their own dimension.”
