Lot 414
  • 414

Thomas Ruff

Estimate
20,000 - 30,000 GBP
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Description

  • Thomas Ruff
  • jpeg wl01
  • signed, titled, dated 2006 and numbered 2/3 on the backing board
  • c-print
  • image: 164 by 246cm.; 64 1/2 by 96 7/8 in.
  • framed: 185 by 267cm.; 72 7/8 by 105 1/8 in.

Provenance

Galerie Nelson, Paris
Private Collection, Paris (acquired from the above in 2007)

Literature

Exhibition Catalogue, Stockholm, Moderna Museet, Thomas Ruff: jpegs, 2007, pp. 134-35, another example illustrated in colour
David Campany, "Thomas Ruff: Aesthetic of the Pixel" in Iann Magazine, Vol. 2, 2008, n.p., another example illustrated in colour
Bennett Simpson et al., JPEGS: Photographs by Thomas Ruff, New York 2009, n.p., another example illustrated in colour
Vered Maimon, "Precarious Marks: Thomas Ruff's jpegs" in Oxford Art Journal, June 2014, p. 185, no. 6, another example illustrated in colour

Condition

Colour: The colours in the catalogue illustration are fairly accurate. Condition: This work is in very good condition. Extremely close inspection reveals a few faint and unobtrusive spots of wear scattered in a few isolated places along the extreme outer edges of the frame.
"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

"Low-resolution digitised internet pictures have been blown to oversize proportions. In the process, the images fracture and pixellate to reveal surfaces comprised of intoxicating mosaics of coloured grids. Stand back, and an (often apocalyptic) image emerges; up front, the photograph’s constituent elements and its underlying digital structure predominate.”

Guy Lane

“Thomas Ruff Interview” in Foto8, 24 October 2009