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'If anyone wants an indication of how artists think, the easiest way would be to see how they go about making their drawing.' —Richard SerraWhile perhaps best known for his large-scale sculptures, American artist Richard Serra recognises the fundamental role drawing plays in his artistic practice: ‘I have been drawing all my life. I started at a young age. Drawing was the primary mode of experiencing the world for me and that is still how I understand what I see’.i Executed solely using black pigment, his drawings are exclusively nonrepresentational in nature and are conceived as independent entities from both his sculptural practice and the daily images he creates as informal notation devices. Rotterdam Vertical #11, 2017, belongs to a significant body of work comprised of four series of drawings executed between 2015 and 2017: the Ramble drawings (2015), the Composites (2016), the Rotterdam Horizontals (2016-17), and the Rotterdam Verticals (2016-17). All created using broadly the same studio practices, these works on paper mark a crucial development in Serra’s interrogation of the possibilities of the medium of drawing.
Serra spreads etching ink, silica, paintstick (and sometimes lithograph crayon, pastel powder, and graphite powder) onto a table. He then places handmade paper on top of this viscous material and runs a steel block across the back of the sheet in broad sweeps. The pressure exerted by the artist through the palm-sized tool facilitates a transferal process: the black pigment lifts from the tabletop onto the surface of the paper. As in his earlier employment of a similar technique for his series of drawings Tracks (2007-8) and Solids (2008), Serra notes, ‘I don’t see the drawing I am making until the paper is pulled off the floor and turned over’.ii Relying on his tactile instinct, the artist does not intervene in the resultant surface, characterising each work as a unique index of its process of creation.
The Rotterdam Horizontals and Rotterdam Verticals were made especially for a major exhibition of the artist’s drawings at the Museum Boijmans Van Beuningen, Rotterdam in 2017. Uniquely in these two groups of drawings, while the movement of the tool either vertically or horizontally across the paper determines to which series a work will belong, the final orientation of each piece is not decided until the surface is revealed. Once the transferral process is complete, the paper might be inverted 180 degrees. Therefore, while much of the drawing process is executed without the artist knowing the precise outcome of his mark-making, this final stage is dictated by the Serra’s visual determination of the final composition of a work.
Franz Kline, Light Mechanic, 1960, oil on canvas, Private Collection. Photo credit Bridgeman Images © ARS, NY and DACS, London 2021 The technique employed in the creation of the Rotterdam drawings emphasises Serra’s process-focussed approach to artmaking. Famously, when working in New York in the late 1960s he wrote a list of verbs (Verblist, 1967-8) that were later enacted in his studio using a variety of materials. For Serra, ‘The residue of the activities didn’t always qualify as art. I was primarily interested in the process and it was important that whatever was finally made reveal its making’.iii Proclaiming that ‘drawing is a verb’, the same impetus to articulate the process of creation through the materiality of a work is captured in Rotterdam Vertical #11.
Georges Seurat, Poplars, 1883-1884, conte crayon on paper, J. Paul Getty Museum, Los Angeles. Photo credit: Bridgeman Images Reflecting on his place in art history, Serra explains, ‘I am not so interested in the history of academic drawing but in the people who have changed the definition of drawing’, naming his particular admiration for Georges Seurat, Jasper Johns, and Cy Twombly.iv As powerfully demonstrated in Rotterdam Vertical #11, like these giants of the twentieth century, Serra formulates his own unique approach to drawing by reconceptualising the act of mark-making on paper, asserting his place as an innovator at the forefront of contemporary artistic production.
Ahead of the acclaimed 2017 exhibition Richard Serra Drawings 2015-2017 at the Museum Boijmans Van Beuningen, Rotterdam, Serra and Francesco Stocchi (curator) discuss the artist’s drawing practice.
Collector's Digest
• Richard Serra’s drawings have garnered significant attention in recent years thanks to major museum shows including Richard Serra Drawing: A Retrospective (2011-2012) that travelled to the Met, New York, the Menil Colelction, and SFMOMA.
• The present work was created by the artist especially for a celebrated 2017 exhibition of his drawings at Museum Boijmans Van Beuningen, Rotterdam, titled Richard Serra Drawings 2015-2017.
i Richard Serra, quoted in Cristina Carrillo, ‘Interview with Richard Serra: It is the contradictions, not the similarities, that make the Beyler Foundation show interesting’, 30 June 2011, The Art Newspaper, online
ii Richard Serra, quoted in Richard Serra Drawings 2015-2017, exh. cat., Museum Boijmans Van Beuningen, Rotterdam, 2017, p. 207
iii Richard Serra, quoted in Richard Serra. Sculpture: Forty Years, exh. cat., The Museum of Modern Art, New York, 2007, p. 27
iv Richard Serra, quoted in Cristina Carrillo, ‘Interview with Richard Serra: It is the contradictions, not the similarities, that make the Beyler Foundation show interesting’, 30 June 2011, The Art Newspaper, onlineProvenance
David Zwirner, New York
Acquired from the above by the present ownerExhibited
Rotterdam, Museum Boijmans Van Beuningen, Richard Serra Drawings 2015-2017. Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts, 24 June - 24 September 2017, p. 131 (illustrated, pp. 18, 151)
139
Rotterdam Vertical #11
etching ink, silica and paintstick on handmade paper
101.6 x 66.1 cm (40 x 26 in.)
Executed in 2017.
Estimate
£150,000 - 200,000 ‡
Tamila Kerimova
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London Auction 14 October 2021
101
Emily Mae Smith
Industry City
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102
Allison Zuckerman
Palace Dweller
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103
Flora Yukhnovich
Study
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104
Lisa Brice
Untitled
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105
Portia Zvavahera
Ndinewe (I'm with you) [2]
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106
Lynette Yiadom-Boakye
Wren
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107
Meleko Mokgosi
Democratic Intuition, Lerato: Agape II
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108
Stanley Whitney
Iraqi Blues
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109
Jordan Wolfson
Untitled
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110
Laura Owens
Untitled
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111
Louis Fratino
Morning Glory
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112
Oluwole Omofemi
Tight Corner II
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113
Mequitta Ahuja
Jeweled
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114
Claire Tabouret
Le Carnaval (Les Cotillons)
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115
Aboudia
Untitled
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116
Isshaq Ismail
Nkabom 1
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117
Walter Price
Sit ENDS
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118
Etel Adnan
Untitled
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119
Etel Adnan
Untitled
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120
Harold Ancart
Untitled
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121
Joel Mesler
Untitled (k)
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122
Caroline Walker
Study for Floors, Room 324
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123
Tracey Emin
Like an Old Fashioned Time
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124
Michael Armitage
Snake Charmer
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125
Antony Gormley
LIFT 5 (MEME) III
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126
Yinka Shonibare CBE RA
Girl on Globe 3
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127
Rashid Johnson
Black Lines
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128
Hayv Kahraman
Person nummer
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129
George Condo
Statue
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130
George Condo
Grandpa (Old Red with Bubbles)
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131
Banksy
Girl with Balloon
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132
Robert Longo
Untitled (Helmet)
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133
Mike Kelley
Ghoul #1
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134
Roni Horn
Key and Cue, No. 1609 - Sunset That Screens, Reveals
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135
Peter Halley
Action Point
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136
John McCracken
Molecule
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137
Alex Israel
Untitled (flat)
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138
This lot is no longer available.
139
Richard Serra
Rotterdam Vertical #11
Estimate £150,000 - 200,000 ‡
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140
Sol LeWitt
Squiggly brushstrokes
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141
Steven Shearer
Boy with Dog
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142
Julian Schnabel
Misericordia Painting I (Big hair Day)
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143
George Condo
Gold Nude
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144
André Butzer
Untitled
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145
Martin Kippenberger
Ohne Titel
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146
Gerhard Richter
8.2.92
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147
Gerhard Richter
Abstrakt 474-1
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148
Günther Förg
Untitled
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149
Franz West
Untitled
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150
Jaume Plensa
Rui Rui in Shanghai
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151
Thierry De Cordier
Object To Knock The Head On/ Object To Rest The Head On
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152
Raoul De Keyser
Surplace nr. 1
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153
Serge Poliakoff
Composition abstraite
Estimate £80,000 - 120,000 ‡♠
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154
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155
Mario Schifano
Paesaggio anemico
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156
Alberto Burri
Untitled (chess set)
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157
Jannis Kounellis
Untitled
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158
Alighiero Boetti
Ammazzare il tempo
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159
Alighiero Boetti
5 x 4 x 3 x 2 x 1
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160
Mimmo Rotella
Untitled
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161
Leoncillo Leonardi
Taglio Bianco
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162
Fausto Melotti
Dafne
Estimate £25,000 - 35,000 ‡♠
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163
Michelangelo Pistoletto
Cane allo Specchio (Dog in the Mirror)
Estimate £70,000 - 90,000 ‡♠
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164No Reserve
Marino Marini
Le tre Grazie
Estimate £6,000 - 8,000 •‡♠
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165
Wifredo Lam
Personnage 20/24
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166
Eduardo Arroyo
La chaise de Yalta
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167
Alexej von Jawlensky
Frau mit Tracht
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168
Joan Miró
Figure en état de métamorphose (Figure in a State of Metamorphosis)
Estimate £180,000 - 250,000 ‡♠
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169
Milton Avery
Gulls in Fog
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170
Willem de Kooning
Untitled
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171
Max Ernst
Die Wankelmutter
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172
Max Ernst
Claire de lune
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173
Max Ernst
Fantôme animale
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174
Max Ernst
Ohne Titel
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175
Max Ernst
Two works: (i) Le pain vacciné (template for 'Histoire Naturelle', sheet XXIII); (ii) Le pain vacciné
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176
Max Ernst
Le tremblement de terre (template for 'Histoire Naturelle', sheet V)
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177
Max Ernst
Clôture
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178
Max Ernst
La Suisse
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179
Max Ernst
Maximiliana-Figur
Estimate £4,000 - 6,000 ‡♠
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180
Max Ernst
Ohne Titel
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181
Max Ernst
Entdeckungsfahrten ins Unbewußte
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182
Max Ernst
Madeleine
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183
A.R. Penck
Kopf, Frage, Jäger, Sage, 1,2,3,4 A.R. Penck ist hier
Estimate £80,000 - 120,000 ‡♠
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184
Gerhard Richter
Six works: (i) Cage P19-1; (ii) Cage P19-2; (iii) Cage P19-3; (iv) Cage P19-4; (v) Cage P19-5; (vi) Cage P19-6
Estimate £30,000 - 40,000 ♠
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185
Martin Kobe
Untitled
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186
Gerhard Richter
Abstraktes Bild (P1)
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187
Gerhard Richter
Haggadah (P2)
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188
Damien Hirst
Eight works from 'The Virtues': (i) H9-1 Justice; (ii) H9-2 Courage; (iii) Mercy H9-3; (iv) Politeness H9-4; (v) Honesty H9-5; (vi) Honour H9-6; (vii) Loyalty H9-7; (viii) Control H9-8
Estimate £30,000 - 50,000 ♠
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189
Vik Muniz
Milan (Last Supper), After Andy Warhol (Picture of Chocolate)
Estimate £40,000 - 60,000
Sold for £52,920
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190
Louise Lawler
One Big One in an Edition of Five
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191
Louise Lawler
Marie, again
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192
Louise Lawler
Black Cat
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193
Zoe Leonard
I Love You
Estimate £6,000 - 8,000 ‡
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194
Massimo Vitali
ROSIGNANO SEA 1, 1998
Estimate £15,000 - 25,000 ‡♠
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195
Marilyn Minter
Emerald City
Estimate £8,000 - 12,000 ‡
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196
Marilyn Minter
Big Mac
Estimate £8,000 - 12,000 ‡
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197
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198
Andy Warhol
Shoes
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199
Lorna Simpson
Ultra Blue
Estimate £6,000 - 8,000
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200
Angel Otero
I dwelt alone in a world of moan
Estimate £20,000 - 30,000 ‡
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201
Calvin Marcus
Automatic Drawing #6
Estimate £30,000 - 50,000 ‡
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202
Allora & Calzadilla
Lifesaver Manhole
Estimate £30,000 - 50,000 ‡
Sold for £37,800
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203
Sterling Ruby
ECLPSE (BGYRBB)
Estimate £40,000 - 60,000 ‡
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204
Pamela Rosenkranz
Look Deeper (Let In)
Estimate £8,000 - 12,000 ‡
Sold for £30,240
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205
Marc Quinn
Claudia as Flora
Estimate £40,000 - 60,000 ♠
Sold for £75,600
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206
Gilbert & George
Blood and Piss
Estimate £70,000 - 90,000 ‡♠
Sold for £88,200
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207
Gillian Carnegie
Black Square
Estimate £10,000 - 15,000 ♠
Sold for £17,010
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208
Idris Khan
No More Voices
Estimate £40,000 - 60,000 ‡♠
Sold for £35,280
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209
Gavin Turk
Flat Tyre
Estimate £25,000 - 35,000 ‡♠
Sold for £25,200
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210
Julian Opie
Woman taking off pants. 3.
Estimate £50,000 - 70,000 ‡♠
Sold for £85,680
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