Salad
Salad
Signed Print
Damien Hirst
£3,600-£5,500
$7,000-$11,000 Value Indicator
$6,500-$10,000 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,350-€6,500 Value Indicator
$35,000-$50,000 Value Indicator
¥710,000-¥1,080,000 Value Indicator
$4,500-$7,000 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: Screenprint
Edition size: 150
Year: 1999
Size: H 153cm x W 102cm
Signed: Yes
Format: Signed Print
TradingFloor
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 | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2016 | Christie's New York | United States | |||
| April 2008 | Christie's London | United Kingdom |
Meaning & Analysis
Salad was created in 1999 by Young British Artist, Damien Hirst, and was released as part of 13 screen prints in The Last Supper series. Released in an edition of 150, this print is imitative of pharmaceutical packaging and has been printed in a simple, three colour palette. Salad™Tablets replaces the medicine name and Hirst replaces the manufacturer's name with his own, yet some pharmaceutical descriptions and measurements remain, with the word ‘Lamivudine’ sitting awkwardly beneath the artwork title.
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.
