2005
Color aquatint on Hahnemühle etching paper
Signed in pencil, and numbered (verso)
30 x 36 ¾ in. (76.4 x 93 cm), unframed
Edition of 65
For the Love of God
2007
Original screenprint with glazes
Signed by the artist, and numbered
12 3/4 x 9 1/2 in. (32.4 x 24 cm)
Edition of 1700
Mickey (Blue Glitter) *
2016
Screenprint in colors with glitter on heavy wove paper
Signed in pencil, and numbered (verso)
34 1/2 x 27 1/2 in. (87.5 x 70 cm), unframed
Edition of 150
Minnie
2016
Screenprint in colors with glitter on heavy wove paper
Signed in pencil, and numbered (verso)
60 x 48 1/4 in. (152.4 x 122.4 cm), unframed
Edition of 50
Minnie (Pink Glitter)
2016
Screenprint in colors with glitter on heavy wove paper
Signed in pencil, and numbered (verso)
34 1/2 x 27 1/2 in. (87.5 x 70 cm), unframed
Edition of 150
Pyronin Y *
2005
Etching printed in colors on wove paper
Signed by the artist in pencil (recto), and numbered (verso)
40 ¾ x 45 ¾ in (103.6 cm x 116 cm), unframed
Edition of 65
The Physical Impossibility of Death in the Mind of Someone Living *
2013
Lenticular digital print on PETG plastic
Signed by the artist, and numbered
31 x 47 in (80 x 120 cm), unframed
Edition of 150
Xylene Cyanol Dye Solution
2005
Original spot etching on 350 gsm Hahnemuehle paper
Signed (recto) and numbered (verso) in pencil
37 ¾ x 28 ¾ inches (95.88 x 73 cm)
Edition of 65
Fenbufen *
2012
Woodcut in colors on Somerset White Paper
Signed by the artist & numbered
18 x 18 inches (45 ¾ x 45 ¾ cm.)
Edition of 55
Ethylamine *
2012
Woodcut in colors on 410gsm Somerset White Paper
Signed by the artist & numbered, verso
11 ½ x 17 inches (29.2 x 43.2 cm)
Edition of 55
Isovanillin *
2012
Woodcut Somerset White Paper
Signed by the artist and numbered
19.5 x 25 inches (49.5 x 63.5 cm)
Edition of 55
Ellipticine *
2007
Aquatint and etching on Wove Paper
Signed in pencil by the artist & numbered, verso.
43 3/8 x 54 1/8 in. (110.3 x 137.4 cm.)
Edition of 75
Histidyl *
2008
Screenprint with metallic silver on paper
Signed by the artist and numbered
30 x 37 ½ inches (76 x 95 cm)
Edition of 150
Proctolin *
2009
Screenprint in colors with glitter
Signed and numbered in pencil
29 ¾ x 37 ¼ inches (75.6 x 94.6 cm)
Edition of 150
Carvacrol *
2009
Screenprint in colors with glitter
Signed and numbered in pencil
37 ¼ x 29 ¾ inches (94.6 x 75.6 cm)
Edition of 150
And Then There Were Four: A Famous Musketeer *
2002
Cardboard box with dart and onion
Signed by the artist in black ink on the box
10 ¼ x 4 x 4 inches (26 x 10.2 x 10.2 cm)
Edition of 2000
For the Love of God (black) *
2009
Silkscreen print with glazes on paper
Signed by the artist in pen, and numbered
12 ¾ x 9 ½ in
Edition of 1000
For the Love of God (white) *
2009
Silkscreen print with glazes and diamond dust on paper
Signed by the artist in pen, and numbered
12 ¾ x 9 ½ in
Edition of 1000
For the Love of God (white) *
2009
Silkscreen print with glazes and diamond dust on paper
Signed by the artist in pen, and numbered
12 ¾ x 9 ½ in
Edition of 1000
Born in Bristol, England in 1965, Damien Hirst is undoubtedly one of the most important and controversial living artists. In 1988, while still a student at Goldsmiths University, Hirst organized the now famous group exhibition, ‘Freeze’, which has been credited as the launch of the ‘YBAs’ (Young British Artists). Included in an exhibition at the Saatchi Gallery in 1992 was Hirst’s “The Physical Impossibility of Death in the Mind of Someone Living”, a tiger shark suspended in formaldehyde encased in a vitrine. This technique, and the meditation on mortality, is a theme carried through much of Hirst’s work. Equally emblematic are Hirst’s series of variably colored dots, and his butterfly paintings. In 1995 Hirst was awarded the Turner Prize and three years later published his autobiography.
Opening on the same morning as the Lehman Brothers bankruptcy in 2008, an auction of Hirst’s new work at Sotheby’s defied all expectations and raised $200,000,000, making Hirst’s work among the most expensive for a living artist. Most recently, in what many critics have seen as the artist’s biggest challenge to himself yet, Hirst has retreated from his professional studio to his garden shed to return to the basics of painting oil on canvas.
David Hockney has received great critical acclaim. From the representational nature of his more serious portraits to the depictions of the Californian landscape, his style …
Born in 1928, American artist, Al Held earned his slot in the annals of American contemporary art with his bold, geometric canvases that took abstraction …
Hirst, Damien
Opening on the same morning as the Lehman Brothers bankruptcy in 2008, an auction of Hirst’s new work at Sotheby’s defied all expectations and raised $200,000,000, making Hirst’s work among the most expensive for a living artist. Most recently, in what many critics have seen as the artist’s biggest challenge to himself yet, Hirst has retreated from his professional studio to his garden shed to return to the basics of painting oil on canvas.