Steak & Kidney
Steak & Kidney
Signed Print
Damien Hirst
£2,050-£3,100Value Indicator
$4,350-$6,500 Value Indicator
$3,700-$5,500 Value Indicator
¥19,000-¥29,000 Value Indicator
€2,400-€3,600 Value Indicator
$20,000-$30,000 Value Indicator
¥390,000-¥580,000 Value Indicator
$2,600-$3,950 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Screenprint
Edition size: 150
Year: 1999
Size: H 152cm x W 80cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2024 | Artcurial | France | |||
| September 2023 | Phillips London | United Kingdom | |||
| September 2022 | Sotheby's Paris | France | |||
| June 2022 | Phillips London | United Kingdom | |||
| September 2020 | Sotheby's Online | United Kingdom | |||
| May 2020 | Forum Auctions London | United Kingdom | |||
| November 2019 | Christie's London | United Kingdom |
Meaning & Analysis
Steak & Kidney was created in 1999 by Young British Artist, Damien Hirst, as part of The Last Supper. Published in an edition of 150, this is one of thirteen screen prints within the series which acts as commentary on the glamorisation of pharmaceuticals. Using a simple, limited pallete of four colours, Steak & Kidney is imitative of medicinal packaging.
The words ‘Steak & Kidney’ replace the medicine name, and in place of the manufacturer's logo Hirst creates another using his own name ‘Damien’. Some pharmaceutical descriptions and measurements remain: the words ‘Ethambutol Hydrochloride Tablets 400mg’ sit awkwardly between the artwork title and the word PIE.
In this series Hirst takes everyday, cafeteria foods and holds them up to Christian faith and the perceived glamour of pharmaceuticals. He shows us how these medicines have become commonplace, their packaging familiar and the contents trusted. For Hirst our relationship with medicine is a belief system, very much like art or religion.
Pharmaceutical imagery, glamour and idolisation can be found early in the artist’s career in his Medicine Cabinet series. Empty medicine packaging is displayed in cabinets under titles including ‘Holidays’, ‘New York’ and ‘God’. Later, he uses similar cabinets to display brightly coloured pills and cubic zirconia.
Hirst’s ongoing questioning of human faith can be found again and again throughout his work. Signed and unnumbered (as is true of all prints in the series) this print can be considered an important piece within the artist’s catalogue raisonné.
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.
