Dumpling
Dumpling
Signed Print
Damien Hirst
£3,300-£4,950
$6,500-$9,500 Value Indicator
$6,000-$9,000 Value Indicator
¥30,000-¥45,000 Value Indicator
€3,900-€6,000 Value Indicator
$35,000-$50,000 Value Indicator
¥670,000-¥1,010,000 Value Indicator
$4,250-$6,500 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: Screenprint
Edition size: 150
Year: 1999
Size: H 153cm x W 102cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2023 | Phillips London - United Kingdom | Dumpling - Signed Print | |||
| September 2022 | Sotheby's Online - United Kingdom | Dumpling - Signed Print | |||
| May 2022 | Phillips London - United Kingdom | Dumpling - Signed Print | |||
| September 2021 | Sotheby's Online - United Kingdom | Dumpling - Signed Print | |||
| October 2020 | Phillips Hong Kong - Hong Kong | Dumpling - Signed Print | |||
| November 2019 | Christie's London - United Kingdom | Dumpling - Signed Print | |||
| May 2001 | Christie's New York - United States | Dumpling - Signed Print |
Meaning & Analysis
Created in 1999 by Young British Artist Damien Hirst, Dumpling is one of 13 screen prints in The Last Supper series. Imitative of pharmaceutical packaging, Dumpling uses a simple, limited palette of three colours and presents a commentary on the commodification of medicinal products.
The word ‘Dumpling’ replaces the medicine name, and in place of the manufacturer's logo Hirst creates another, using his own name. Some pharmaceutical descriptions and measurements remain, the words ‘Lisinopril dihydrate’ sit awkwardly beneath the artwork title.
In this series Hirst takes everyday, cafeteria foods and holds them up to Christian faith and the perceived glamour of pharmaceuticals. He shows us how these medicines have become commonplace, their packaging familiar and the contents trusted. For Hirst our relationship with medicine is a belief system, very much like art or religion.
Pharmaceutical imagery, glamour and idolisation can be found early in the artist’s career in his Medicine Cabinet series. Empty medicine packaging is displayed in cabinets under titles including ‘Holidays’, ‘New York’ and ‘God’. Later, he uses similar cabinets to display brightly coloured pills and cubic zirconia.
Hirst’s ongoing questioning of human faith can be found again and again throughout his work. Signed and unnumbered (as is true of all prints in the series) this print can be considered an important piece within the artist’s catalogue raisonné.
