£7,000-£10,500 VALUE (EST.)
$13,000-$19,000 VALUE (EST.)
$12,000-$18,000 VALUE (EST.)
¥60,000-¥90,000 VALUE (EST.)
€8,000-€12,000 VALUE (EST.)
$70,000-$100,000 VALUE (EST.)
¥1,130,000-¥1,700,000 VALUE (EST.)
$8,500-$13,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Giclée print, 2018
Signed Print Edition of 100
H 90cm x W 90cm
Own this artwork?
Celine Fraser, Specialist
|Auction Date||Auction House||Artwork|
Return to Seller
|July 2022||Forum Auctions London - United Kingdom||H5-2 Beverly Hills - Signed Print|
|April 2022||Phillips New York - United States||H5-2 Beverly Hills - Signed Print|
|March 2022||Sotheby's Online - United Kingdom||H5-2 Beverly Hills - Signed Print|
|April 2020||Phillips New York - United States||H5-2 Beverly Hills - Signed Print|
|March 2020||Forum Auctions London - United Kingdom||H5-2 Beverly Hills - Signed Print|
|December 2019||Forum Auctions London - United Kingdom||H5-2 Beverly Hills - Signed Print|
|October 2019||Tate Ward Auctions - United Kingdom||H5-2 Beverly Hills - Signed Print|
Taken from Damien Hirst’s 2018 Colour Space series, H5-2 Beverly Hills shows an all-over composition of many colourful dots placed seemingly at random. This print is distinctly Hirstian due to its use of the dot motif that has remained a constant from early on in his career. Many of the dots in the composition overlap and splatters of paint can be seen across the print.
The Colour Space series is based on Hirst’s iconic Spot paintings from the 1980s and ’90s that were the ultimate expression of colour and composition in an abstract visual language. While the Spot paintings were developed with the potential for endlessness due to their formulaic grid-like formulas, the Colour Space series are a finite set of works. H5-2 Beverly Hills abandons the original grid formula that governed the original Spot paintings, creating a work that is much freer and plays with expression and spontaneity.
Hirst has explained of this series, “My first ever Spot painting was loose and painted with drippy paint and not minimal at all. In that painting, I was wrestling with what I originally thought of as the coldness of Minimalism and the more emotional Abstract Expressionist painting style I’d grown up with. At the time I painted it, it felt uncool and I abandoned it immediately for the rigidity of the grid, removing the mess, but after doing the Spot catalogue raisonné I’ve felt really drawn to that first painting and knew I’d revisit it eventually.”