Thomas Struth

chromogenic print, Diasec-mounted, framed, the photographer's label, signed in pencil and with typed title, date, and edition number, on the reverse, 1993, no. 5 in an edition of 10

Marian Goodman Gallery, New York, 1998

Thomas Struth, Still (Munich, 1998), p. 93

Thomas Weski, Norman Bryson, and Benjamin H.D. Buchloh, Thomas Struth: Portraits (Munich, 2001), p. 49

This chromogenic print is in generally excellent condition. The colors remain vibrant and saturated with no apparent fading. A few deposits of original retouching are visible overall. Upon close inspection, there are scattered tiny raised areas between the chromogenic print and its facemount, likely the result of the mounting process. A 2-inch scratch is visible in the upper margin on the Diasec. Minor linear scratches are visible only in high raking light. None of the aforementioned affects the overall fine appearance of the print.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1993, when he took the present portrait of Gerhard Richter, Thomas Struth was already well recognized for his contributions to contemporary photography through series such as Family Portraits and Museum Photographs.  The two met at Kunstakademie Düsseldorf where Struth was a student of Richter’s in the 1970s.  Richter encouraged Struth to leave painting and instead study photography under Bernd and Hilla Becher.  The Bechers would greatly influence Struth’s work, not only by their formal approach to composition but also through their unconventional lessons. Rather than restricting study to solely photography, they encouraged their students to discuss politics, literature, film and journalism, thus emphasizing the inevitable cross-pollination between these modes of expression.