Omelette
Omelette
Signed Print
Damien Hirst
£2,750-£4,150Value
Indicator
$5,000-$8,000 Value Indicator
$4,700-$7,000 Value Indicator
¥25,000-¥35,000 Value Indicator
€3,200-€4,850 Value Indicator
$27,000-$40,000 Value Indicator
¥500,000-¥750,000 Value Indicator
$3,450-$5,000 Value Indicator
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
Format: Signed Print
Year: 1999
Size: H 108cm x W 98cm
Edition size: 150
Signed: Yes
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Track auction value trend
Damien Hirst's Omelette (signed), a screen print from 1999, is estimated to be worth £2,750 to £4,100. This artwork has been sold at auction 8 times since its initial sale in 2008. Over the last five years, the hammer price has ranged from £2,932 in March 2023 to £4,248 in May 2021. Despite a slight decrease in value with an average annual growth rate of -2%, it remains a sought-after piece. In the last 12 months, it has sold once with a selling price of £2,932. The edition size of this artwork is limited to 150.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Sotheby's New York - United States | Omelette - Signed Print | |||
| September 2021 | Sotheby's Online - United Kingdom | Omelette - Signed Print | |||
| May 2021 | Bonhams New York - United States | Omelette - Signed Print | |||
| May 2015 | Artcurial - France | Omelette - Signed Print | |||
| July 2013 | Bonhams New Bond Street - United Kingdom | Omelette - Signed Print | |||
| April 2008 | Christie's London - United Kingdom | Omelette - Signed Print |
Meaning & Analysis
Created in 1999, published as an edition of 150, The Last Supper is a series of 13 silkscreen prints by artist Damien Hirst.
Imitative of pharmaceutical packaging, Omelette uses a simple, limited pallet of three colours. The word ‘Omelette’ replaces the medicine name, and in place of the manufacturer's logo Hirst creates another, using his own name: ‘HirstDamien’. Some pharmaceutical descriptions and measurements remain: ‘Each tablet contains 8mg ondansetron’ sits awkwardly alongside 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.
