Sausages
Sausages
Signed Print
Damien Hirst
£3,200-£4,850
$6,000-$9,000 Value Indicator
$5,500-$8,500 Value Indicator
¥29,000-¥45,000 Value Indicator
€3,700-€5,500 Value Indicator
$30,000-$50,000 Value Indicator
¥630,000-¥950,000 Value Indicator
$4,000-$6,000 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: 1999
Size: H 102cm x W 153cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2022 | Phillips London - United Kingdom | Sausages - Signed Print | |||
| January 2022 | Phillips London - United Kingdom | Sausages - Signed Print | |||
| June 2021 | Phillips London - United Kingdom | Sausages - Signed Print | |||
| January 2021 | Phillips London - United Kingdom | Sausages - Signed Print | |||
| June 2019 | Forum Auctions London - United Kingdom | Sausages - Signed Print | |||
| December 2016 | Cornette de Saint Cyr Paris - France | Sausages - Signed Print | |||
| July 2016 | Cornette de Saint Cyr Paris - France | Sausages - Signed Print |
Meaning & Analysis
Sausages is a 1999 screen print by Young British Artist, Damien Hirst, and is one of 13 prints in The Last Supper series. Published in an edition of 150, this print is imitative of pharmaceutical packaging using a limited colour palette of three colours.
The word ‘Sausages’ replaces the medicine name, and in place of the manufacturer's logo Hirst creates another, using artwork derived from an earlier work displaying a string of sausages in Formaldehyde. Some pharmaceutical descriptions and measurements remain: the words ‘Intraconazole 100mg per capsule’ sit awkwardly beneath the artwork title.
In this series Hirst takes everyday, cafeteria foods and holds them up to Christian faith and the perceived glamour of pharmaceuticals. He shows us how these medicines have become commonplace, their packaging familiar and the contents trusted. For Hirst our relationship with medicine is a belief system, very much like art or religion.
Pharmaceutical imagery, glamour and idolisation can be found early in the artist’s career in his Medicine Cabinet series. Empty medicine packaging is displayed in cabinets under titles including ‘Holidays’, ‘New York’ and ‘God’. Later, he uses similar cabinets to display brightly coloured pills and cubic zirconia.
Hirst’s ongoing questioning of human faith can be found again and again throughout his work. Signed and unnumbered (as is true of all prints in the series) this print can be considered an important piece within the artist’s catalogue raisonné.
