Ruth Smoking 3
Ruth Smoking 3
Signed Print
Julian Opie
£5,000-£7,500
$9,500-$14,000 Value Indicator
$8,500-$13,000 Value Indicator
¥45,000-¥70,000 Value Indicator
€5,500-€8,500 Value Indicator
$50,000-$70,000 Value Indicator
¥850,000-¥1,270,000 Value Indicator
$6,500-$9,500 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: Screenprint
Edition size: 50
Year: 2006
Size: H 121cm x W 80cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2020 | Sotheby's Online - United Kingdom | Ruth Smoking 3 - Signed Print | |||
| June 2018 | Phillips London - United Kingdom | Ruth Smoking 3 - Signed Print |
Meaning & Analysis
Ruth Smoking 3 is a print from Julian Opie’s Ruth Smoking series from 2006 that features a three-quarter length portrait of a woman, turned to face the viewer with her right hand lifted and dressed only in her bra. The figure, Ruth, is an art collector living in Geneva who commissioned Opie to create the series of images.
Amidst a contemporary world saturated with information, Opie presents us with an image stripped down to the bare minimum components that make up a portrait. Ruth Smoking is rendered in a decidedly depersonalised visual language. The element of smoking offered Opie the opportunity to animate this image with smoke in further iterations of the subject, thus allowing him to not represent a story but a sense of time through a static portrait.
Producing a computer generated image that uses flat, saturated colour and simplified shapes, Opie mimics the visual language of mass media and advertising. Ruth Smoking 3 also plays into this idea through depicting a stereotypical image of the ‘ideal’ woman as found in magazines, television and film. By rendering the figure with minimal facial features by which to determine who the sitter is, Opie forces the viewer to consider why they find this image so alluring and what constitutes attractiveness.
