£15,000-£23,000 VALUE (EST.)
$29,000-$45,000 VALUE (EST.)
$25,000-$40,000 VALUE (EST.)
¥130,000-¥200,000 VALUE (EST.)
€17,000-€26,000 VALUE (EST.)
$140,000-$220,000 VALUE (EST.)
¥2,720,000-¥4,170,000 VALUE (EST.)
$18,000-$28,000 VALUE (EST.)
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.
Signed Print Edition of 55
H 65cm x W 79cm
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
|Auction Date||Auction House||Artwork|
Return to Seller
|May 2021||Palm Beach Modern Auctions - United States||Fast Scarlett TR Base - Signed Print|
|July 2014||Christie's New York - United States||Fast Scarlett TR Base - Signed Print|
Fast Scarlet TR Base is a woodcut print from Damien Hirst’s 40 Woodcut Spots series from 2011. The print is a landscape-oriented composition showing four rows of five spots, every spot the same size and each a different colour. Every print in the series is unique despite their shared grid composition formula.
The 40 Woodcut Spots series is reminiscent of a vast body of work in Hirst’s oeuvre that has become iconic to his name. Hirst has created over 1000 spot paintings throughout his career between 1988 and 2011. Each with the same pictorial and optical efficiency it is almost impossible to decipher each spot painting from one another. Despite their deceiving simplicity, these works are laborious and painstaking to produce.
The first spot paintings were hand-painted spots that were messy, expressionist and dripped down an 8ft-by-12ft panel, created by Hirst in the final stages of the Freeze exhibition. The two painted arrangements of coloured spots onto the wall of the warehouse, titling them Edge and Row respectively and were first displayed in 1988. The Freeze exhibition marked a turning point in Hirst’s career where he began to employ assistants to create the spot paintings. This was part of the artist’s aims towards creating works that appear to have been produced mechanically and without human intervention.