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Amniotic Fluid - Signed Print by Damien Hirst 2012 - MyArtBroker

Amniotic Fluid
Signed Print

Damien Hirst

£3,750-£5,500Value Indicator

$8,000-$11,500 Value Indicator

$7,000-$10,000 Value Indicator

¥35,000-¥50,000 Value Indicator

€4,350-€6,500 Value Indicator

$40,000-$60,000 Value Indicator

¥750,000-¥1,090,000 Value Indicator

$5,000-$7,500 Value Indicator

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31 x 31cm, Edition of 55, Woodcut

Medium: Woodcut

Edition size: 55

Year: 2012

Size: H 31cm x W 31cm

Signed: Yes

Format: Signed Print

Last Auction: September 2022

Value Trend:

21% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
September 2022
Sotheby's Online
United Kingdom
N/A
N/A
N/A
January 2021
Phillips London
United Kingdom
November 2016
Bonhams Knightsbridge
United Kingdom
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Track auction value trend

Damien Hirst's Amniotic Fluid (signed) is a woodcut print from 2012, estimated to be worth between £3,750 and £5,500. This artwork has shown consistent value growth, with an average annual growth rate of 21%. The hammer price over the past five years has ranged from £3,800 in January 2021 to £3,830 in September 2022. This work has an auction history of three total sales since its entry to the market in November 2016. The edition size of this artwork is limited to 55.

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Meaning & Analysis

This print is highly simplistic and immediate in its effect on the viewer, unambiguous in its depiction of a large spot with bright and flattened colour. Due to its smooth surface and obvious composition, this print deceptively removes any sense of human labour or touch. In the 1980s, the spot paintings marked a shift in Hirst’s artistic career, where he began to employ assistants to complete the painstaking and laborious task of producing these works. The apparent lack of human intervention in these works further emphasises the mathematical precision that underlines their compositions.

Fascinated by intuitive colour choice from his days at Goldsmiths, Hirst claims that the spot paintings have removed any problems he previously had with colour, allowing him to present a perfect arrangement of colour that is never repeated. Hirst explains that, “mathematically, with the spot paintings, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where colour can exist on its own, interacting with other colours in a perfect format.”

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