Manganese Chloride
Manganese Chloride
Signed Print
Damien Hirst
£2,800-£4,150
$5,500-$8,000 Value Indicator
$4,950-$7,500 Value Indicator
¥26,000-¥40,000 Value Indicator
€3,350-€4,950 Value Indicator
$28,000-$40,000 Value Indicator
¥550,000-¥810,000 Value Indicator
$3,550-$5,500 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 13cm x W 13cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| February 2023 | Tate Ward Auctions - United Kingdom | Manganese Chloride - Signed Print | |||
| November 2020 | Swann Galleries - United States | Manganese Chloride - Signed Print | |||
| June 2020 | Swann Galleries - United States | Manganese Chloride - Signed Print | |||
| September 2015 | Hampel Fine Art Auctions - Germany | Manganese Chloride - Signed Print |
Meaning & Analysis
Manganese Chloride is a woodcut print from Damien Hirst’s 40 Woodcut Spots series from 2011. The print shows various coloured spots arranged methodically into four rows of three. Each spot is a different colour and every print in the series represents a unique set of colour combinations.
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 a seemingly infinite series where Hirst can infinitely explore harmonious and contrasting colour combinations.
The titles of each print in the series are based on names of chemical compounds, further emphasising their abstract in their lack of signification of something tangible in the world. The chemical name instead 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.”
