H4-6 Kew
H4-6 Kew
Signed Print
Damien Hirst
£6,000-£9,000
$12,000-$18,000 Value Indicator
$11,000-$16,000 Value Indicator
¥60,000-¥80,000 Value Indicator
€7,000-€11,000 Value Indicator
$60,000-$90,000 Value Indicator
¥1,160,000-¥1,750,000 Value Indicator
$7,500-$11,500 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: Giclée print
Edition size: 75
Year: 2008
Size: H 92cm x W 126cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Phillips Hong Kong | Hong Kong | |||
| January 2024 | Phillips London | United Kingdom | |||
| January 2023 | Phillips London | United Kingdom | |||
| December 2022 | Tate Ward Auctions | United Kingdom | |||
| September 2022 | Phillips London | United Kingdom |
Meaning & Analysis
H4-6 Kew is a signed giclée print produced by contemporary British artist Damien Hirst in 2008. In this print, which comes in an edition size of 75, Hirst creates a colourful composition made out of thick and dense brushstrokes and dabs of heavy impasto. The layers of paint draw attention to the various stages that went into producing the piece, hinting at the time and labour that went into the production of the artwork.
The print is part of Hirst’s Veils collection which was inspired by the concept of a veil. The artist explains how he was intrigued by the way in which a veil can both reveal and obscure the truth and the layers of paint in the compositions can be seen as a series of veils that the viewer must look through to see what is hidden behind the surface of the composition.
The style of painting in H4-6 Kew is clearly influenced by Impressionism and Abstract Expressionism. The abstract painting also resonates with the Pointillist movement which was born out of Georges Seurat and Paul Signanc’s experimentations with making paintings out of small yet distinct dots. Hirst often incorporates spots into his artworks, most notably in his Spot Paintings. The use of spots in the Veils collection, however, is much less regimented than the way the shapes are used in the Spot paintings which are characterised by precision and uniformity.
