Peter Struycken (1939)
KTV,five colour photographs on black cardboard, 70x100 cm
Executed 1977. "This lot is probably one of the last remaining works from a small series that I made in 1977. They’re stages from a process of a developing line that I generated on a tube. The core of the work lies, in what I find amazing, in the line that erratically develops over the screen, which is visible in the bottom three pictures. Once the screen is fully filled, the structural character of the line type is retained, visible in the left-hand large picture. But also, if I continue to draw the line, repeating what was previously done, the overall picture (visual structure) remains the same with no changes, which is visible in the right picture). Yet in the meantime, no fragment between picture 1 and picture 2 are the same. And this character is permanent, however often the image is overwritten. I would have expected the image to become amorphous (noise-like) when overwriting. That this is not the case can only be the result of the algorithm’s particular manner in becoming visible. A pleasant feature is perhaps the line which constantly changes colour during this process. Otherwise the whole picture would be one-colour. I calculated the colours algorithmically on the basis of interference of three different sine waves: one for red, one for green and one for blue, the three colours of a colour monitor, to reach a coherent synergy. From a recent publication regarding the use of computercontrolled work by Carolyn L. Kane, “Chromatic Algorithm; Synthetic Color, Computer Art and Aesthetics after Code’’, published by The University of Chicago Press in 2014, I would presume that I was the first to determine colour algorithms. There are programmers and artists who (much) earlier than me generated images on a display screen, but their colours were derived from camera images or manually selected colours or colour filters that were photographically added.
The work in this auction, once purchased by the previous owner at Galerie Swart in Amsterdam, is one of the first works in the world using computer generated colours. "
Peter Struycken, Provenance: Acquired from Swart Galerie, Amsterdam.
lots with a hammer price of less than € 15.000, 29% all in
lots with a hammer price of €15
000 or more, 24% all in
When you want to join the bidding via the auction site Epai we will have to charge you 3% extra on top of the hammer price and via Invaluable we will charge you 5% extra.
Ask our experts for the conditions.
Assay Office costs: Gold and silver with foreign hallmarks must legally be assayed to comply with Dutch law. This does not apply to objects with a Belgian hallmark dating after 1814. The costs for the assay office are for the seller’s account.
Warehouse and insurance costs. These costs are not usually for the seller. Purchased lots should be collected within 5 working days after the auction. After 5 days we will have to charge you warehouse costs at €2.50 per lot per day.
Droit de suite
Droit de suite applies to: Original pieces made by artists up to 70 years after passing who are nationals or residents of any country part of the EU or EER or from any country with equal legislation concerning droite de suite.
B.V. Venduehuis der Notarissen in The Hague will, in accordance with the Dutch auction houses, recover the statutory droit de suite fee from the buyer. The Venduehuis will also see to the financial processing.
The droit de suite fee will be calculated starting at €3.000,- on the sales price including premiums (excluding VAT) as composed of the following percentages:
> € 3.000 < € 50.000 4%
> € 50.000 < € 200.000 3%
> € 200.000 < € 350.000 1%
> € 350.000 < € 500.000 0,5%
> € 500.000 0,25%