Ferric Acid Citrate
Ferric Acid Citrate
Signed Print
Damien Hirst
£6,000-£8,500Value
Indicator
$11,500-$16,000 Value Indicator
$10,500-$14,500 Value Indicator
¥50,000-¥80,000 Value Indicator
€7,000-€10,000 Value Indicator
$60,000-$80,000 Value Indicator
¥1,150,000-¥1,620,000 Value Indicator
$7,500-$10,500 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: Woodcut
Edition size: 55
Year: 2011
Size: H 16cm x W 38cm
Signed: Yes
Format: Signed Print
MyPortfolio
Your collection tracked in real time.
Build your portfolio, manage valuations, view return against your collection and watch works you're looking for.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2023 | Phillips New York - United States | Ferric Acid Citrate - Signed Print | |||
| December 2017 | Christie's New York - United States | Ferric Acid Citrate - Signed Print | |||
| December 2017 | Forum Auctions London - United Kingdom | Ferric Acid Citrate - Signed Print | |||
| November 2017 | Rosebery's Fine Art Auctioneers - United Kingdom | Ferric Acid Citrate - Signed Print |
Meaning & Analysis
Taken from Damien Hirst’s vast 40 Woodcut Spots series, Ferric Acid Citrate is a woodcut print from 2011. The print shows a large purple circle on the left of the composition and a red semi-circle of the same size at the right-hand edge. This print appears like a drastically cropped version of Hirst’s more typical spot paintings in only depicting one and a half spots.
Hirst’s 40 Woodcut Spots series is characterised by rationality and logic, combined with intuitive and aesthetically pleasing colour choice. The print is formulaic and crisp in form, with the clinical white backdrop hinting to the realm of medicine and laboratories. Overall, this series recalls the absurdity of Dadaism and gently mocks the processes of pointillist painting.
Of his famous spot paintings, Hirst has said: “I believe all painting and art should be uplifting for the viewer. I feel it inside me. It gives me a buzz.” Indeed these large and playfully coloured spots are light-hearted in form and subject matter, though are deceptively simplistic. The grid formula for these paintings is the basis for a seemingly infinite series where Hirst can infinitely explore harmonious and contrasting colour combinations. Hirst goes as far as to employ assistants in order to match the scale of his ambition.
