Ruth With Cigarette 1
Ruth With Cigarette 1
Signed Print
Julian Opie
£4,650-£7,000
$8,500-$13,000 Value Indicator
$8,000-$12,000 Value Indicator
¥40,000-¥60,000 Value Indicator
€5,500-€8,000 Value Indicator
$45,000-$70,000 Value Indicator
¥790,000-¥1,190,000 Value Indicator
$6,000-$9,000 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: Digital Print
Edition size: 50
Year: 2005
Size: H 103cm x W 71cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| August 2020 | Wilson55 - United Kingdom | Ruth With Cigarette 1 - Signed Print | |||
| January 2018 | Phillips London - United Kingdom | Ruth With Cigarette 1 - Signed Print | |||
| May 2014 | Sotheby's New York - United States | Ruth With Cigarette 1 - Signed Print | |||
| April 2011 | Christie's London - United Kingdom | Ruth With Cigarette 1 - Signed Print |
Meaning & Analysis
Ruth With Cigarette 1 is a print from Julian Opie’s Ruth With Cigaretteseries (2005) that shows a drastically pared-down portrait of the sitter, Ruth, an art collector living in Geneva. Opie shows the sitter with a floating blank circle as a head, and this image is rendered with thick bold lines, simplified shapes and flattened block colours.
The print is a half-length portrait of a woman who looks out to the viewer, cigarette in hand and her shirt open to show her underwear. Opie engages with the traditional art historical genre of portraiture through his use of pose and composition and with the fact that this is a commissioned portrait staged to show the sitter in a certain way. At the same time, Opie turns the art historical context on its head by using a photograph which is then digitally edited to produce a simplified pictogram that is decidedly modern.
Opie’s interest in finding a standardised version of the human form comes to the fore in his Ruth With Cigaretteseries. The faceless figures have no necks, and their hands are reduced down so far that smaller details like fingers are not visible in the portraits. These images are reminiscent of the signs found on lavatory doors and the sitter’s character is made distinguishable only through her pose and clothing.
