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Postcard From Nucleohistone - Unsigned Print by Damien Hirst 2012 - MyArtBroker

Postcard From Nucleohistone
Unsigned Print

Damien Hirst

£1,300-£1,950Value
Indicator

$2,500-$3,700 Value Indicator

$2,200-$3,350 Value Indicator

¥11,500-¥18,000 Value Indicator

1,500-2,300 Value Indicator

$13,000-$19,000 Value Indicator

¥240,000-¥360,000 Value Indicator

$1,650-$2,450 Value Indicator

-6% AAGR (5YR)

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: Lithograph

Format: Unsigned Print

Year: 2012

Size: H 70cm x W 97cm

Edition size: 500

Signed: No

TradingFloor

1 in network
Jasper Tordoff
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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
April 2021Lyon & Turnbull Edinburgh - United KingdomPostcard From Nucleohistone - Unsigned Print
January 2021Lyon & Turnbull Edinburgh - United KingdomPostcard From Nucleohistone - Unsigned Print
October 2020Forum Auctions London - United KingdomPostcard From Nucleohistone - Unsigned Print
August 2020Lyon & Turnbull Edinburgh - United KingdomPostcard From Nucleohistone - Unsigned Print
June 2020Forum Auctions London - United KingdomPostcard From Nucleohistone - Unsigned Print
May 2020Forum Auctions London - United KingdomPostcard From Nucleohistone - Unsigned Print

Meaning & Analysis

Postcard From Nucleohistone, produced by Damien Hirst in 2012, takes influence from other works in the Spots collection. The work presents, as is typically recognisible of Hirst, a series of spots in a grid-like pattern. They range in colour from yellow, orange, blue, green, black, and brown. There is no coherent pattern in the application of colour for the perfectly round spots. Though this work was produced later than most of Hirst’s Spots collection, it exhibits a shared visual interest. The Spots paintings had stretched back as far as 1986. Therefore, this may be viewed as a later exploration of a theme that continued to interest Hirst over four decades.

One work that this might be compared to is Hirst’s Lysergic Acid Diethylamide (LSD) print. Prodcued twelve years earlier, in 2000, this print similarly arranges spots on a white background which are arranged up to the edge of the print. However, the colours of Postcard From Nucleohistone appear more vibrant. Perhaps this was achieved through the lithographic technique that was used to produce this print edition. Alternatively, this could have been the result of conscious decision by Hirst regarding the visual effect that he sought.

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