Cornish Pasty
Cornish Pasty
Signed Print
Damien Hirst
£2,500-£3,700
$4,700-$7,000 Value Indicator
$4,250-$6,500 Value Indicator
¥22,000-¥30,000 Value Indicator
€2,850-€4,200 Value Indicator
$25,000-$35,000 Value Indicator
¥420,000-¥630,000 Value Indicator
$3,150-$4,650 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: Screenprint
Edition size: 150
Year: 1999
Size: H 153cm x W 102cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2016 | Christie's New York - United States | Cornish Pasty - Signed Print | |||
| September 2011 | Christie's New York - United States | Cornish Pasty - Signed Print | |||
| October 2010 | Sotheby's Online - United Kingdom | Cornish Pasty - Signed Print |
Meaning & Analysis
Created in 1999, published as an edition of 150, The Last Supper is a series of 13 silkscreen prints by artist Damien Hirst, released in an edition of 150.
Imitative of pharmaceutical packaging, Cornish Pasty uses a simple, limited pallet of four colours. The words ‘Cornish Pasty’ and ‘Peas’ replace the medicine names, though pharmaceutical details such as ‘Rifampicin B.P.’ remain, alongside the words ‘To be taken by mouth’. In place of the manufacturer's logo creates another, using his own name.
In this series Hirst takes everyday, cafeteria foods and holds them up to Christian faith and the perceived glamour of pharmaceuticals. He shows us how these medicines have become commonplace, their packaging familiar and the contents trusted. For Hirst our relationship with medicine is a belief system, very much like art or religion.
Pharmaceutical imagery, glamour and idolisation can be found early in the artist’s career in his Medicine Cabinet series. Empty medicine packaging is displayed in cabinets under titles including ‘Holidays’, ‘New York’ and ‘God’. Later, he uses similar cabinets to display brightly coloured pills and cubic zirconia.
Hirst’s ongoing questioning of human faith can be found again and again throughout his work. Signed and unnumbered (as is true of all prints in the series) this print can be considered an important piece within the artist’s catalogue raisonné.
