Postcard From Nucleohistone
Postcard From Nucleohistone
Unsigned Print
Damien Hirst
£1,200-£1,850
$2,400-$3,700 Value Indicator
$2,150-$3,350 Value Indicator
¥11,000-¥17,000 Value Indicator
€1,450-€2,250 Value Indicator
$11,500-$18,000 Value Indicator
¥240,000-¥360,000 Value Indicator
$1,500-$2,300 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: Lithograph
Edition size: 500
Year: 2012
Size: H 70cm x W 97cm
Signed: No
Format: Unsigned Print
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Meaning & Analysis
This unsigned work, entitled Postcard From Nucleohistone, was published by Fondazione Pastificio Cerere and Gagosian Gallery in Rome. The lithograph ran as an edition of 500. It depicts a series of eight by eleven spots, of varied colours, in a grid-like pattern atop a white background.
Postcard From Nucleohistone, produced by Damien Hirst in 2012, takes influence from other works in the Spots collection. The work presents, as is typically recognisible of Hirst, a series of spots in a grid-like pattern. They range in colour from yellow, orange, blue, green, black, and brown. There is no coherent pattern in the application of colour for the perfectly round spots. Though this work was produced later than most of Hirst’s Spots collection, it exhibits a shared visual interest. The Spots paintings had stretched back as far as 1986. Therefore, this may be viewed as a later exploration of a theme that continued to interest Hirst over four decades.
One work that this might be compared to is Hirst’s Lysergic Acid Diethylamide (LSD) print. Prodcued twelve years earlier, in 2000, this print similarly arranges spots on a white background which are arranged up to the edge of the print. However, the colours of Postcard From Nucleohistone appear more vibrant. Perhaps this was achieved through the lithographic technique that was used to produce this print edition. Alternatively, this could have been the result of conscious decision by Hirst regarding the visual effect that he sought.