$25,000-$35,000 Value Indicator
$22,000-$35,000 Value Indicator
¥120,000-¥170,000 Value Indicator
€15,000-€22,000 Value Indicator
$130,000-$190,000 Value Indicator
¥2,420,000-¥3,540,000 Value Indicator
$17,000-$24,000 Value Indicator
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.
Format: Signed Print
Size: H 82cm x W 94cm
Edition size: 75
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2023||Christie's London - United Kingdom||Doxylamine - Signed Print|
|September 2020||Phillips London - United Kingdom||Doxylamine - Signed Print|
|May 2020||Forum Auctions London - United Kingdom||Doxylamine - Signed Print|
|April 2018||Christie's New York - United States||Doxylamine - Signed Print|
|November 2015||Bonhams New Bond Street - United Kingdom||Doxylamine - Signed Print|
|June 2012||Cornette de Saint Cyr Paris - France||Doxylamine - Signed Print|
|July 2010||Bonhams New Bond Street - United Kingdom||Doxylamine - Signed Print|
Doxylamine is a striking woodcut print from 2011 by Damien Hirst. Set against a white backdrop, this print shows a grid of spots, each a different colour and arranged methodically in nine rows of twelve. This print is reminiscent of Hirst’s widely recognised spot paintings that date from 1986 to 2011.
The formulaic composition of the spot paintings are both random and infinite in that each shows a unique colour combination and number of spots. Hirst explains that, “mathematically, with the spot paintings, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where colour can exist on its own, interacting with other colours in a perfect format.”
The repetition of spots in Doxylamine as with many others in the series, creates a visual buzz that is energetic yet highly regimented. The use of perfect circles is eye-catching and aesthetically pleasing, appealing to a wide audience of both specialists and non-specialists. The grid formula for these paintings is the basis for an unbounded series where Hirst can infinitely explore harmonious and contrasting colour combinations.