Damien Hirst

£4,900-£7,500Value
Indicator

$9,500-$14,500 Value Indicator

$8,500-$13,000 Value Indicator

¥45,000-¥70,000 Value Indicator

€5,500-€9,000 Value Indicator

$50,000-$70,000 Value Indicator

¥940,000-¥1,430,000 Value Indicator

$6,000-$9,500 Value Indicator

50% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Track auction value trend

The value of Damien Hirst’s Amniotic Fluid (signed) is estimated to be worth between £4,900 and £7,500. Over the past five years, the hammer price has ranged from £3,770 in January 2021 to £3,830 in September 2022. This woodcut print, created in 2012, has shown a strong auction history, with an annual average growth rate of 50%. This work is somewhat rare, having been sold 3 times at auction since its initial sale in November 2016. The edition size of this artwork is limited to 55.

Auction Date

Auction House

Artwork

Hammer Price

Return to Seller

Buyer Paid

September 2022

Sotheby's Online - United Kingdom

Amniotic Fluid - Signed Print

January 2021

Phillips London - United Kingdom

Amniotic Fluid - Signed Print

November 2016

Bonhams Knightsbridge - United Kingdom

Amniotic Fluid - Signed Print

Meaning & Analysis

Amniotic Fluid is a woodcut print from Damien Hirst’s 40 Woodcut Spots series from 2011, released in a limited edition of 55. The print shows a perfect circle in red, positioned in the centre of the square composition. Set against a plain white backdrop, this print appears like a drastically cropped version of one of Hirst’s more recognisable spot paintings. As a result, Amniotic Fluid is decidedly abstract.

This print is highly simplistic and immediate in its effect on the viewer, unambiguous in its depiction of a large spot with bright and flattened colour. Due to its smooth surface and obvious composition, this print deceptively removes any sense of human labour or touch. In the 1980s, the spot paintings marked a shift in Hirst’s artistic career, where he began to employ assistants to complete the painstaking and laborious task of producing these works. The apparent lack of human intervention in these works further emphasises the mathematical precision that underlines their compositions.

Fascinated by intuitive colour choice from his days at Goldsmiths, Hirst claims that the spot paintings have removed any problems he previously had with colour, allowing him to present a perfect arrangement of colour that is never repeated. Hirst explains that, “mathematically, with the spot paintings, I probably discovered the most fundamentally important thing in any kind of art. Which is the harmony of where colour can exist on its own, interacting with other colours in a perfect format.”