Carvacrol
Carvacrol
Signed Print
Damien Hirst
£15,000-£22,000
$30,000-$45,000 Value Indicator
$27,000-$40,000 Value Indicator
¥140,000-¥200,000 Value Indicator
€18,000-€27,000 Value Indicator
$150,000-$210,000 Value Indicator
¥2,960,000-¥4,330,000 Value Indicator
$19,000-$28,000 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: 150
Year: 2008
Size: H 76cm x W 56cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2020 | Galerie Kornfeld | Germany | |||
| April 2020 | Sotheby's New York | United States | |||
| January 2020 | Phillips London | United Kingdom | |||
| January 2020 | Forum Auctions London | United Kingdom | |||
| July 2019 | Sotheby's New York | United States | |||
| October 2018 | Sotheby's New York | United States | |||
| January 2017 | Phillips London | United Kingdom |
Meaning & Analysis
Carvacrol is a signed screen print by Damien Hirst from 2008. The print shows many spots arranged methodically in rows, identical in size and shape. Each spot in the print is a different colour and every print in the series represents a unique set of colour combinations, marking Hirst’s fascination with exploring colour and form. Carvacrol is unusual amongst other Spots works since the spots are set against a sparkling bronze backdrop.
The Spots paintings, on which this set of prints are based, form the basis for an endless exploration of colour and form. Indeed, Hirst has only occasionally halted production of his Spots paintings in his career, continually returning to them with a new variation, each associated with a specific drug group.
Hirst has commented on the exploration of colour in his Spots paintings, explaining, “If you look closely at any one of these paintings, a strange thing happens: because of the lack of repeated colours there is no harmony. We are used to picking out chords of other colours to create meaning. This can’t happen. So in every painting there is a subliminal sense of unease: the colours project so much joy it’s hard to feel it, but it’s there.”
