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Glycine Cresol Red - Signed Print by Damien Hirst 2011 - MyArtBroker

Glycine Cresol Red
Signed Print

Damien Hirst

£3,150-£4,750Value Indicator

$6,500-$10,000 Value Indicator

$6,000-$9,000 Value Indicator

¥30,000-¥45,000 Value Indicator

€3,650-€5,500 Value Indicator

$35,000-$50,000 Value Indicator

¥630,000-¥940,000 Value Indicator

$4,250-$6,500 Value Indicator

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26 x 26cm, Edition of 55, Woodcut

Medium: Woodcut

Edition size: 55

Year: 2011

Size: H 26cm x W 26cm

Signed: Yes

Format: Signed Print

Last Auction: April 2023

Value Trend:

-5% 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
April 2023
Bonhams New Bond Street
United Kingdom
N/A
N/A
N/A
January 2018
Phillips London
United Kingdom
November 2016
Bonhams New Bond Street
United Kingdom
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Track auction value trend

The value of Damien Hirst's Glycine Cresol Red (signed) is estimated to be worth between £3,150 and £4,750. This woodcut print from 2011 has shown consistent value growth, with an average annual growth rate of 4%. This work has an auction history of three 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

The 40 Woodcut Spots series is reminiscent of Hirst’s vast series of spot paintings, of which there are over 1000 in existence, dating from 1988 to 2011. The spots represent abstraction reduced to its most basic mechanisms: colour, form and composition. The grid formula for these paintings is the basis for an unbounded series where Hirst can infinitely explore harmonious and contrasting colour combinations.

The repletion of spots in Glycine Cresol Red, as with many others in the series, creates a visual buzz that is energetic yet highly regimented. The use of perfect circles is eye-catching and aesthetically pleasing, appealing to a wide audience. Hirst in 2000 remarked on the impact of an installation of multiple spot paintings, “it’s an assault on your senses. They grab hold of you and give you a good shaking. As adults, we’re not used to it. It’s an amazing fact that all objects leap beyond their own dimension.”

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