For The Love Of God, (side, white)
For The Love Of God, (side, white)
Signed Print
Damien Hirst
£4,900-£7,500
$9,500-$14,000 Value Indicator
$8,500-$13,000 Value Indicator
¥45,000-¥70,000 Value Indicator
€5,500-€8,500 Value Indicator
$50,000-$70,000 Value Indicator
¥960,000-¥1,460,000 Value Indicator
$6,000-$9,500 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: Screenprint
Edition size: 1000
Year: 2007
Size: H 58cm x W 43cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2016 | Hampel Fine Art Auctions - Germany | For The Love Of God, (side, white) - Signed Print | |||
| December 2015 | Ketterer Kunst Hamburg - Germany | For The Love Of God, (side, white) - Signed Print |
Meaning & Analysis
For the Love of God, White, is a screen print from 2007 from Damien Hirst’s For The Love Of God series. The print shows a photographic portrait of a human skull viewed from a side on a diagonal angle and set against a white backdrop. The skull is entirely covered with diamonds and set with a large stone in the centre of the forehead.
This print is based on Hirst’s famous diamond-encrusted skull sculpture, For The Love Of God from 2007. The original sculpture is one of Hirst’s most seminal works in his entire oeuvre and is notable for its grandiose and excessive use of materials. For Hirst, diamonds are the ultimate expression of positivity and perfection in the face of death. Fascinated by death as a subject for artistic investigation, Hirst does not represent decay or fear of death with his diamond encrusted piece, but instead transforms this image of mortality into an aestheticized symbol.
Much of Hirst’s printed editions are reminiscent of his most famous sculptural and installation works, indicating his obsession with certain motifs and themes surrounding life and death. Every print in the For The Love Of God series depicts a variation on the For The Love Of God sculpture. This particular print is rendered in a hyperrealist photographic style.
