Phenformin
Phenformin
Signed Print
Damien Hirst
£4,800-£7,000
$9,500-$13,500 Value Indicator
$8,500-$12,500 Value Indicator
¥45,000-¥60,000 Value Indicator
€5,500-€8,500 Value Indicator
$45,000-$70,000 Value Indicator
¥940,000-¥1,370,000 Value Indicator
$6,000-$9,000 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: 48
Year: 2010
Size: H 51cm x W 51cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| January 2019 | Phillips London - United Kingdom | Phenformin - Signed Print | |||
| December 2017 | Christie's New York - United States | Phenformin - Signed Print |
Meaning & Analysis
Phenformin is a woodcut print from Damien Hirst’s 12 Woodcut Spots series from 2010. Showing three rows of three spots, identical in size and shape, this square composition is an example of Hirst’s fascination with exploring colour and form. Each spot is a different colour and every print in the series represents a unique set of colour combinations.
The 12 Woodcut Spots series can be considered within Hirst’s collection of spot paintings which constitute one of his most important series of works. From their origins in 1986, Hirst had always intended to create a comprehensive installation of the spot paintings. The Gagosian Gallery in 2012 brought together his collection of spot paintings spanning 25 years from 1986 to 2011.
The first spot paintings appeared in 1986 and were then exhibited in 1988, when Hirst in the final stages of the Freeze exhibition painted two arrangements of coloured spots onto the wall of the warehouse. The Freeze exhibition marked a turning point in Hirst’s career where he began to employ assistants to create the spot paintings. This was part of the artist’s aims towards creating works that appeared to have been produced mechanically and without human intervention.
