Minaret
Minaret
Signed Print
Damien Hirst
£18,000-£28,000
$35,000-$50,000 Value Indicator
$30,000-$50,000 Value Indicator
¥170,000-¥260,000 Value Indicator
€21,000-€35,000 Value Indicator
$180,000-$280,000 Value Indicator
¥3,740,000-¥5,820,000 Value Indicator
$23,000-$35,000 Value Indicator
AAGR (5 years) 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.
Medium: Etching
Edition size: 59
Year: 2009
Size: H 119cm x W 156cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2022 | Sotheby's New York - United States | Minaret - Signed Print | |||
| September 2016 | Sotheby's Online - United Kingdom | Minaret - Signed Print | |||
| April 2015 | Phillips New York - United States | Minaret - Signed Print | |||
| February 2011 | Phillips London - United Kingdom | Minaret - Signed Print | |||
| December 2010 | Ketterer Kunst Hamburg - Germany | Minaret - Signed Print |
Meaning & Analysis
Minaret is a signed etching from Damien Hirst’s 2009 Sanctum series. The central focus of this print is Hirst’s famous butterfly motif, showing one in the middle of the composition and the intricate surrounding pattern made up of butterfly wings. Minaret is depicted in varying shades of blue and pink and is made up of concentric circles.
Some of Hirst’s most well-known paintings are the Kaleidoscope paintings from 2001 to the present, that play with the symbolic power of the butterfly and evoke a sense of spirituality. This series seems to play with both Christian iconography, like his works that are framed by pointed arches, as well as Eastern philosophical traditions, pre-empting his later Mandalasseries from 2019.
The use of the butterfly differs from earlier iterations of the motif in installations such as In and Out of Love from 1991. Using only the butterfly wings, Hirst removes the idealised image of the butterfly from the real insect, notably arranging the wings into an aesthetic composition.Across the series, the butterfly wing is rendered unrecognisable when viewed at a distance and as part of a larger intricate pattern.
