For The Love Of God (four, white)
For The Love Of God (four, white)
Signed Print
Damien Hirst
£3,750-£5,500 VALUE (EST.)
$7,000-$10,500 VALUE (EST.)
$6,000-$9,000 VALUE (EST.)
¥35,000-¥50,000 VALUE (EST.)
€4,300-€6,500 VALUE (EST.)
$35,000-$50,000 VALUE (EST.)
¥680,000-¥1,000,000 VALUE (EST.)
$4,600-$6,500 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.
Screenprint, 2011
Signed Print Edition of 1000
H 58cm x W 49cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2016 | Christie's New York - United States | For The Love Of God (four, white) - Signed Print |
Meaning & Analysis
For The Love Of God (four, white) is one of several prints of Damien Hirst’s 2007 sculpture of the same name. This print, signed on the upper right skull, depicts the skull in three quarters view, in profile from either side, and frontally. The skulls are presented against a white background.
For The Love of God (four, white) is unique as it presents multiple different views of his famous For The Love Of God sculpture in one singular print. Through the various different orientations of the skull, the viewer gets a sense of the totality of the use of diamonds. The platinum cast of a real skull is replete with 8,601 diamonds. The jaw of the skull is slightly open and the white teeth, the original teeth from the 18th century person, are visible. The skull functions as a central image that has enabled Hirst to consider several themes throughout the years, often revisiting the sculpture and creating more prints.
Not only have skulls been a recurring theme in Hirst’s oeuvre, but he has continually returned to the For The Love Of God sculpture, producing more prints of it. The presence of multiple different views of the skull in one image renders this print truly unique. The work may be compared to Hirst’s 2007 print, For The Love Of God (four, black), which adopts the same composition. However, the use of a white background gives the skull an entirely different effect.
