2020
Laminated giclee on aluminum composite panel
Digitally signed and numbered, verso
13 3/4 x 14 1/4 in. (35 x 36.4 cm), unframed
Edition of 3510
INQUIRE
Curare
2012
Woodcut on Somerset White Paper
Signed by the artist and numbered
18 x 18 in. (45 x 3/4 x 45 3/4 cm), unframed
Edition of 55
INQUIRE
Ethidium Bromide Aqueous Solution *
2005
Color aquatint on Hahnemühle etching paper
Signed in pencil, and numbered (verso)
30 x 36 3/4 in. (76.4 x 93 cm), unframed
Edition of 65
SOLD
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
SOLD
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
SOLD
Mickey (Blue Glitter) & Minnie (Pink Glitter)
2016
Two individual screenprints in colors with glitter on heavy wove paper
Each hand-signed in pencil, and numbered (verso)
34 1/2 x 27 1/2 in. (87.5 x 70 cm), unframed, each
Edition of 150
INQUIRE
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
SOLD
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
SOLD
Pyronin Y *
2005
Etching printed in colors on wove paper
Signed by the artist in pencil (recto), and numbered (verso)
40 3/4 x 45 3/4 in. (103.6 x 116 cm), unframed
Edition of 65
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
SOLD
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
2005 Color aquatint on Hahnemühle etching paper Signed in pencil, and numbered (verso) 30 x 36 3/4 in. (76.4 x 93 cm), unframed Edition of 65 SOLD2007 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 SOLD2016 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 SOLD2016 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 SOLD2016 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 SOLD2005 Etching printed in colors on wove paper Signed by the artist in pencil (recto), and numbered (verso) 40 3/4 x 45 3/4 in. (103.6 x 116 cm), unframed Edition of 65 SOLD2013 Lenticular digital print on PETG plastic Signed by the artist, and numbered 31 x 47 in (80 x 120 cm), unframed Edition of 150 SOLD2005 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 SOLD2012 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 SOLD2012 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 SOLD2012 Woodcut Somerset White Paper Signed by the artist and numbered 19.5 x 25 inches (49.5 x 63.5 cm) Edition of 55 SOLD2007 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 SOLD2008 Screenprint with metallic silver on paper Signed by the artist and numbered 30 x 37 ½ inches (76 x 95 cm) Edition of 150 SOLD2009 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 SOLD2009 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 SOLD2002 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 SOLD2009 Silkscreen print with glazes on paper Signed by the artist in pen, and numbered 12 ¾ x 9 ½ in Edition of 1000 SOLD2009 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 SOLD2009 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 SOLDOpening 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.