$12,500-$18,000 Value Indicator
$11,000-$16,000 Value Indicator
¥60,000-¥80,000 Value Indicator
€7,500-€11,000 Value Indicator
$60,000-$90,000 Value Indicator
¥1,210,000-¥1,760,000 Value Indicator
$8,000-$12,000 Value Indicator
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.
Signed Print Edition of 50
H 42cm x W 29cm
|Auction Date||Auction House||Artwork|
Return to Seller
|April 2021||Bonhams Knightsbridge - United Kingdom||Ruth Smoking 1 - Signed Print|
|April 2015||Phillips New York - United States||Ruth Smoking 1 - Signed Print|
|October 2010||Bonhams Knightsbridge - United Kingdom||Ruth Smoking 1 - Signed Print|
|September 2010||Sotheby's Online - United Kingdom||Ruth Smoking 1 - Signed Print|
|March 2010||Bonhams New Bond Street - United Kingdom||Ruth Smoking 1 - Signed Print|
Ruth Smoking 1 is the first in a series of portraits of the subject, Ruth, smoking, by Julian Opie from 2006. The print is a three-quarter length portrait of a woman who looks out to the viewer, cigarette in hand and her shirt open to show her underwear. Rendered in Opie’s graphic style, characteristic of his work during the mid-2000s, the figure is contoured with thick, bold lines and her features are defined by a few marks.
Opie’s portraits engage with longstanding ideas that have characterised this art historical genre by questioning what intrinsic elements are needed to convey a person’s character. Ruth Smoking 1 presents the viewer with the absolute minimum by which the subject can be recognised, with buttons for eyes, two lines for a mouth, and the image created with flat, block colours.
Ruth Smoking 1 is representative of Opie’s strong interest in Ukiyo-e, a genre of Japanese woodblock prints from the 18th and 19th centuries that often depicted female beauties not meant for exhibition. Opie’s particular interest in Ukiyo-e artist Kitagawa Utamaro comes through in these portraits of Ruth, notably explaining that, "[Utamaro’s] models were radically cropped close up, the faces were very simply drawn, in some ways always very similar, but with great presence and individuality."