Till Death Do Us Part (dove grey, gunmetal, leaf green)
Till Death Do Us Part (dove grey, gunmetal, leaf green)
Signed Print
Damien Hirst
£7,500-£11,500Value
Indicator
$14,500-$22,000 Value Indicator
$13,000-$20,000 Value Indicator
¥70,000-¥100,000 Value Indicator
€9,000-€13,500 Value Indicator
$70,000-$110,000 Value Indicator
¥1,430,000-¥2,200,000 Value Indicator
$9,500-$14,500 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: 50
Year: 2012
Size: H 52cm x W 37cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2019 | Forum Auctions London - United Kingdom | Till Death Do Us Part (dove grey, gunmetal, leaf green) - Signed Print | |||
| March 2019 | Forum Auctions London - United Kingdom | Till Death Do Us Part (dove grey, gunmetal, leaf green) - Signed Print |
Meaning & Analysis
Damien Hirst’s screen print, Till Death Do Us Part (dove grey, gunmetal, leaf green) is one of ten prints that make up his Till Death Do Us Part series from 2012. The print shows a silkscreen image of a human skull facing directly out towards the viewer. The image of the skull is taken from a photograph and flattened, depicted mostly in monochrome with shades of green contouring the facial features of the skull.
Hirst’s influence from the Pop artist Andy Warhol comes through in the Till Death Do Us Part series. Before Hirst, Warhol was similarly preoccupied with the iconography of death, depicting skulls in many variations in the latter stage of his career. Also like Warhol, Hirst repeats a single image across an entire series, each print showing a variation on the original image through the manipulation of colour. Through his obsessive repetition of the skull throughout the Till Death Do Us Part series and his wider body of work, Hirst both desensitises and amplifies the permeating human condition of mortality.
It is only in the later stages of Hirst’s career that he has become interested in prints and editions. His first print portfolio was produced in 1999 and were a set of screen prints that depicted medicine bottle labels. Since his first print portfolio, Hirst has produced many prints and editions like those in the Till Death Do Us Part series and are a major part of his oeuvre.
