Lot 66
  • 66

Hiroshi Sugimoto

Estimate
50,000 - 70,000 GBP
bidding is closed

Description

  • Hiroshi Sugimoto
  • 'Seagram Building - Ludwig Mies van der Rohe', 1997
  • Silver print
Silver print, dry-mounted to aluminium and board. Signed in silver pen on a studio label affixed to the back of the frame. Edition 2/5.

Provenance

Sonnabend Gallery, New York
Claude Berri Collection

Exhibited

Museum of Contemporary Art, Hiroshi Sugimoto: Architecture, MCA Chicago, 2/22/03 - 6/1/03

Literature

Francesco Bonami et al., Sugimoto: Architecture, D.A.P./Museum of Contemporary Art, Chicago, 2003, ill. p. 111 (another example illustrated).

Condition

This print is in overall excellent condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Sugimoto’s fascination with twentieth century modern architecture, and the influence of both the Dadaist and Surrealist movements, has resulted in unique and distinctive works which appear to break all the rules of architectural photography. As part of a project commissioned by the Museum of Contemporary Art in Chicago, Sugimoto created blurred images of some of New York’s most iconic twentieth century buildings at unusual and sometimes unrecognisable angles.  Sugimoto has commented that he sees photography as “a fossilisation of time”, and it is this sense of timelessness that infiltrates his photography. Softening sharp architectural details and creating large-scale black and white images removes these iconic buildings from their context, yet simultaneously captures the very essence of the building.