- Hiroshi Sugimoto
- 'Baltic Sea, Rügen' (Triptych)
- Gelatin silver prints
a suite of 3 photographs, each with title, date, edition '15/25,' and numbers '450' through '452' blindstamped in the margin, mounted, signed in pencil on the mount, framed, 1996 (3)
Galerie Simonne Stern, New Orleans
Private Collection, 2001
Acquired from the above, 2011
Kerry Brougher and David Elliott, Hiroshi Sugimoto (Washington, D. C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 2006), p. 140 (negative no. 451)
These photographs are in generally excellent condition.
'450' - When examined very closely in raking light, a small, soft, linear crease in the lower margin is visible, which likely occurred prior to or as a result of mounting. This does not affect the image and is not apparent when viewing the photograph in its matted and framed presentation.
'451' - When examined closely, a tiny, stray deposit of ink is barely visible in the right portion of the sky-area, just above the horizon line. In raking light, the following are also barely perceptible: a tiny fibrous adhesion near the right edge of the image; and a pin-point-sized white accretion in the central portion of the sea.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In 1980, Hiroshi Sugimoto began work on a new series of photographs of the ocean.
He used a large format 8-by-10-inch camera to capture the incredible detail and nuance of seascapes in a variety of locations throughout the world. In each, Sugimoto placed the horizon at the very center of the photograph. In some of these images, like those offered here, the sky meets the sea cleanly, ‘like a samurai sword’s blade’ (Sugimoto, p. 14); in other photographs, atmospheric conditions blur the intersection of water and air.
Although the works from this series are titled with respect to their specific locations, the photographs resist identification with a particular place. There are no signs of humanity or cues that could hint at geographic location. In this series, Sugimoto portrays the horizon at sea, untouched by man, at a place where time seems to stand still and history or location holds no meaning.
According to the photographer’s studio, Sugimoto assembled only two triptychs of these images. This multi-image presentation magnifies the impact of these quietly powerful photographs.