- 191
Thomas Struth
Estimate
70,000 - 100,000 GBP
bidding is closed
Description
- Thomas Struth
- Audience 07 (Galleria Dell'Accademia), Florenz
- signed, titled, dated 2004 and numbered 8/10 on the reverse
- c-print, in artist's frame
- 185 by 294.5 cm. 72 7/8 by 115 7/8 in.
- Executed in 2004, this work is number 8 from an edition of 10.
Provenance
Private Collection, Oslo
Exhibited
Oslo, Galleri K, Thomas Struth: Museum Photographs, May 2005
Madrid, Museo Nacional del Prado, Thomas Struth: Making Time, February - March 2007, illustrated in colour (ed. no. unknown)
Madrid, Museo Nacional del Prado, Thomas Struth: Making Time, February - March 2007, illustrated in colour (ed. no. unknown)
Literature
Michael Freud, Why Photography Matters As Art As Never Before, New York 2008, p. 141, no. 82, illustrated in colour (ed. no. unknown)
Anette Kruszynski, Tobia Bezzola and James Lingwood, Eds., Thomas Struth: Photographs 1978-2010, New York 2010, p. 47, illustrated in colour (ed. no. unknown)
Anette Kruszynski, Tobia Bezzola and James Lingwood, Eds., Thomas Struth: Photographs 1978-2010, New York 2010, p. 47, illustrated in colour (ed. no. unknown)
Condition
Colour:
The colours in the catalogue illustration are fairly accurate although the overall tonality is brighter and more vibrant in the original.
Condition:
This work is in very good condition. Close inspection reveals a short scratch with an associated minute speck of paint loss to the face of the left edge of the frame, approximately 40 cm. from the lower left corner. Further close inspection reveals a minute nick to the face of the frame, approximately 10 cm. from the centre on the lower edge, and another minute speck below, to the extreme outer edge. There area few thin and unobtrusive scratches to the lower overturn edge.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
"The idea behind the museum photographs was to retrieve masterpieces from the fate of fame, to recover them from their status as iconic paintings, to remind us that these were works which were created in a contemporary moment, by artists who had everyday lives. They can be admired but revering the artist and their work can also be an impediment. In essence, I wanted to bring together the time of the picture and the time of the viewer.”
THOMAS STRUTH
cited in Lothar Schirmer and Erik Mosel, Eds., Thomas Struth: Photographs 1978-2010, Munich 2010, p.138
THOMAS STRUTH
cited in Lothar Schirmer and Erik Mosel, Eds., Thomas Struth: Photographs 1978-2010, Munich 2010, p.138