Fluoroiodobenzene
Fluoroiodobenzene
Signed Print
Damien Hirst
£35,000-£50,000
$70,000-$100,000 Value Indicator
$60,000-$90,000 Value Indicator
¥320,000-¥460,000 Value Indicator
€40,000-€60,000 Value Indicator
$350,000-$500,000 Value Indicator
¥6,890,000-¥9,840,000 Value Indicator
$45,000-$60,000 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: Woodcut
Edition size: 34
Year: 2010
Size: H 111cm x W 152cm
Signed: Yes
Format: Signed Print
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 |
|---|---|---|---|---|---|
| September 2019 | Phillips London - United Kingdom | Fluoroiodobenzene - Signed Print |
Meaning & Analysis
Fluoroiodobenzene is a woodcut print from Damien Hirst’s 12 Woodcut Spots series from 2010. The print shows six rows of eight spots that are identical in size and shape, each depicting a unique colour. Across the artist’s vast oeuvre every spot painting represents a unique combination of colours. The 12 Woodcut Spots series is an exploration of colour and form that is distinctly Hirstian.
The cold repetition and sterile aesthetic of the 12 Woodcut Spots series is reminiscent of Hirst’s early pill cabinet works such as The Void from 2000. Both works evoke a sense of endless sameness and directly allude to the realms of medicine and science. Indeed, the chemical name of each print in this series evokes a nondescript powder or pill that is abstract in its scientific mode.
In its depiction of many spots, methodically arranged, this print appears like a packet of medical pills, further exacerbated by the print’s title. Cupric Bromide is formulaic and crisp in form, evoking a lack of human or artistic touch. Indeed, for many of the spot paintings throughout his career, Hirst employed assistants to produce them. This was part of the artist’s aims towards creating works that appear to have been produced mechanically, despite the way in which these prints and paintings are painstaking and laborious to produce.
