Name: H5-2 Beverly Hills
Brand: Damien Hirst
Rating: 5 (233 reviews)

Track auction value trend

The value of Damien Hirst’s H5-2 Beverly Hills (signed) is estimated to be worth between £4,050 and £6,000. This giclée print, created in 2018, has shown consistent value growth since its first sale in April 2019. Over the past 12 months, the average selling price was £4,100, across 2 total sales. The hammer price over the last five years has ranged from £4,000 in June 2024 to £9,993 in April 2022. The artwork has an auction history of 13 total sales. The edition size of this artwork is limited to 100.

Auction Date

Auction House

Location

Hammer Price

Return to Seller

Buyer Paid

November 2024

Bonhams New Bond Street

United Kingdom

June 2024

Phillips London

United Kingdom

March 2024

Sotheby's London

United Kingdom

October 2023

Christie's New York

United States

July 2022

Forum Auctions London

United Kingdom

April 2022

Phillips New York

United States

March 2022

Sotheby's Online

United Kingdom

Meaning & Analysis

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.”