Tie A Yellow Ribbon Round the Old Oak Tree
Tie A Yellow Ribbon Round the Old Oak Tree
Signed Print
Damien Hirst
£1,800-£2,750
$3,650-$5,500 Value Indicator
$3,250-$4,950 Value Indicator
¥16,000-¥25,000 Value Indicator
€2,150-€3,300 Value Indicator
$18,000-$27,000 Value Indicator
¥350,000-¥540,000 Value Indicator
$2,250-$3,450 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Etching
Edition size: 68
Year: 2002
Size: H 91cm x W 71cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2024 | Wright | United States | |||
| March 2020 | Forum Auctions London | United Kingdom | |||
| September 2017 | Christie's New York | United States | |||
| July 2015 | Christie's New York | United States | |||
| May 2010 | Bonhams Knightsbridge | United Kingdom | |||
| May 2010 | Bonhams Knightsbridge | United Kingdom | |||
| May 2010 | Bonhams Knightsbridge | United Kingdom |
Meaning & Analysis
Tie A Yellow Ribbon Round The Old Oak Tree is one of 23 etchings from Damien Hirst’s first volume of In A Spin, the Action of the World on Things series. The print is entirely abstract and shows concentric circles made up of very thin lines. Regular and very tightly rendered, the lines that make up the print’s subject convey a great sense of movement and speed.
The In A Spin, The Action Of The World Upon Things portfolio is a variation on Hirst’s spin paintings, created with a spin machine in his studio onto which a circular canvas is attached and paint is thrown. This series of etchings were created using the same spin machine but with copper plates attached and sharp tools used to draw the concentric lines.
Hirst has described his spin paintings as “childish…in the positive sense of the word.” The spin paintings and this series of etchings are characterised by chance and spontaneity, with the hand of the artist removed from compositional choice. Set in contrast to the formulaic spot series, both portfolios are provoking for their exploration of an imaginary mechanical painter. Each spin painting and etching is the result of Hirst’s colour choice and the rotations of the machine. Hirst explains: “I really like making them. And I really like the machine, and I really like the movement. Every time they’re finished, I’m desperate to do another one.”
