For The Love Of God, The Diamond Skull
For The Love Of God, The Diamond Skull
Signed Print
Damien Hirst
£3,500-£5,500Value Indicator
$7,000-$11,500 Value Indicator
$6,500-$10,000 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,050-€6,500 Value Indicator
$35,000-$60,000 Value Indicator
¥700,000-¥1,090,000 Value Indicator
$4,700-$7,500 Value Indicator
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100 x 75cm, Edition of 250, Screenprint
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Meaning & Analysis
For The Love of God, The Diamond Skull is one of several prints that depicts British artist, Damien Hirst's 2007 sculpture, also entitled For the Love Of God. It was produced in 2007, showing a three quarters view, photorealistic image of the sculpture. The skull sits in front of a black background and the print is signed in the bottom right.
Hirst’s For The Love of God, The Diamond Skull is one of his first prints depicting the sculpture of the same name. The choice of three quarters view, against a black backdrop enables the viewer to see a vast number of the 8,601 diamonds. The jaw of the skull is slightly open and the white teeth, the original teeth from the skull, are visible. The skull functions as a central image that has enabled Hirst to consider several themes throughout the years, often revisiting the sculpture and creating more prints. Two central themes that Hirst has explored in this work are science and religion.
Further, the work is indicative of Hirst’s continued interest in diamonds. He has questioned their intrinsic value, asking whether they are simply “just a bit of glass”. However, Hirst’s use of a skull is as important as his choice of diamonds as the medium through which to represent it. Skulls have been a recurring theme in his works: they have been depicted by him in other luxury materials. For instance, in gold in Death Or Glory.
Damien Hirst, born in Bristol in 1965, is often hailed the enfant terrible of the contemporary art world. His provocative works challenge conventions and his conceptual brilliance spans installations, paintings, and sculptures, often exploring themes of mortality and the human experience. As a leading figure of the Young British Artists (YBA) movement in the late '80s, Hirst's work has dominated the British art scene for decades and has become renowned for being laced with controversy, thus shaping the dialogue of modern art.
