Sandwich
Sandwich
Signed Print
Damien Hirst
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AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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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 |
|---|---|---|---|---|---|
| September 2022 | Phillips London - United Kingdom | Sandwich - Signed Print | |||
| January 2022 | Phillips London - United Kingdom | Sandwich - Signed Print | |||
| September 2021 | Sotheby's Online - United Kingdom | Sandwich - Signed Print | |||
| January 2021 | Phillips London - United Kingdom | Sandwich - Signed Print | |||
| April 2018 | Phillips London - United Kingdom | Sandwich - Signed Print | |||
| December 2017 | Pierre Bergé & Associates Paris - France | Sandwich - Signed Print | |||
| September 2011 | Christie's New York - United States | Sandwich - Signed Print |
Meaning & Analysis
Sandwich is one of thirteen screen prints in The Last Supper series by Young British Artist, Damien Hirst. Created in 1999 and released in an edition of 150, this series sees Hirst takes everyday, cafeteria foods and holds them up to Christian faith and the perceived glamour of pharmaceuticals. Sandwich uses a simple, limited palette of three colours to imitate medicinal packaging.
'Sandwich' replaces the medicine name, and in place of the manufacturer's logo Hirst creates another, using his own name. Some pharmaceutical descriptions and measurements remain: the word ‘Saquinavir’ sits awkwardly beneath the artwork title.
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.
