Verba Mea Auribus (diamond dust)
Verba Mea Auribus (diamond dust)
Signed Print
Damien Hirst
£14,000-£21,000 VALUE (EST.)
$27,000-$40,000 VALUE (EST.)
$23,000-$35,000 VALUE (EST.)
¥120,000-¥190,000 VALUE (EST.)
€16,000-€24,000 VALUE (EST.)
$130,000-$200,000 VALUE (EST.)
¥2,540,000-¥3,810,000 VALUE (EST.)
$17,000-$26,000 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.
Screenprint, 2009
Signed Print Edition of 50
H 73cm x W 75cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| January 2022 | Phillips London - United Kingdom | Verba Mea Auribus (diamond dust) - Signed Print | |||
| September 2019 | Sotheby's Online - United Kingdom | Verba Mea Auribus (diamond dust) - Signed Print | |||
| June 2012 | Hampel Fine Art Auctions - Germany | Verba Mea Auribus (diamond dust) - Signed Print |
Meaning & Analysis
Verba Mea Auribus is a silkscreen print with glaze created by renowned contemporary artist, Damien Hirst in 2009. In this print, Hirst produces an intricate pattern formed of concentric circles made out of butterfly wings. The hypnotic effect of the pattern is captivating. In the centre of the composition is a yellow butterfly.
The print is part of the artist’s Psalms series. In this series, which the artist started in 2008, Hirst produces various patterned canvases, all of which use butterflies as their main stylistic element. The prints in the series are all named after a psalm from the Old Testament, emblematic of Hirst’s interest in contemporary belief systems, such as religion. The Psalms are part of a broader series, the Kaleidoscope series, an impressive project dating back to 2001, which was inspired by the intricate pattern of butterfly wings Hirst saw on an old Victoria tea tray.
Hirst has been drawn to butterflies since the start of his artistic career in the late 1980s when he was studying Fine Art at Goldsmiths College. Hirst describes the insect as a “universal trigger,” arguing that “Everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”
