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Thomas Struth (B. 1954)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE SWISS COLLECTION
Thomas Struth (B. 1954)

San Zaccaria, Venice

Details
Thomas Struth (B. 1954)
San Zaccaria, Venice
signed 'Thomas Struth' (on a label affixed to the reverse)
chromogenic print face-mounted to Plexiglas in artist's frame
overall: 72 5/8 x 92 1/8in. (185 x 234 cm.)
Executed in 1995, this work is number eight from an edition of ten

Other works from this edition are in the collection of The Metropolitan Museum of Art, New York; Sammlung Marx im Hamburger Bahnhof, Berlin; Astrup Fearnley Museet for Moderne kunst, Oslo; FNAC, Le fonds national dart contemporain, Paris; The Cleveland Museum, Cleveland and Kunsthaus Zürich, Zurich.
Provenance
Galleria Monica de Cardenas, Milan.
Acquired from the above by the present owner in 1995.
Literature
J. Lingwood, 'Open Visions', in Parkett, nos. 50-51, 1997 (another from the edition illustrated in colour, p. 138-139).
Photographies, no. 88, September-October 1997 (another from the edition illustrated in colour, p. 39).
H. Belting, W. Grasskamp and C. Seidel (eds.), Thomas Struth: Museum Photographs, Munich 2005, p. 7 (another from the edition illustrated in colour, pp. 4, 67 and 106).
A. Kruszynski, T. Bezzola and J. Lingwood (eds.), Thomas Struth: Photographs 1978-2010, 2010 (another from the edition illustrated in colour, pp. 89, 169 and 205).
Exhibited
Berlin, Galerie Max Hetzler, Thomas Struth, 1995-1996 (another from the edition exhibited).
Paris, Maison européene de la photographie, Allemagne, années 80, 1997 (another from the edition exhibited).
Bellinzona, Centro d'Arte Contemporanea Ticino, TRANSIT Fotografia degli anni '90, 1997.
Nîmes, Carré d'Art, Musée d'art contemporain de Nîmes, Still: Thomas Struth, 1998-1999, p. 113 (another from the edition exhibited, illustrated in colour, pp. 64-65). This exhibition later travelled to Amsterdam, Stedelijk Museum and Paris, Centre national de la photographie.
Helmond, Gemeentemuseum Helmond, The power of beauty: de teru-gkeer van schoonheid in de hedendaagse kunst, 1999-2000, pp. 24-25 (another from the edition exhibited, illustrated in colour, p. 22).
Grenoble, Musée de Grenoble, L'art d'aujourd'hui: un choix dans la collection du Fonds national d'art contemporain, 2002 (another from the edition exhibited, illustrated in colour, unpaged).
Dallas, Dallas Museum of Art, Thomas Struth: 1977 2002, 2002, pp. 175 and 177 (another from the edition illustrated in colour, p. 127). This exhibition later travelled to Los Angeles, The Museum of Contemporary Art, New York, The Metropolitan Museum of Art and Chicago, Museum of Contemporary Art.
Zurich, Kunsthaus Zürich, Wallflowers, 2002, no. 34 (another from the edition exhibited).
Oslo, Galleri K, Museum Photographs 1987-2004, 2005 (another from the edition exhibited).
Lugano, Museo Cantonale d'Arte, Affinità e complementi: Opera dal musei svizzeri in dialogo con la collezione del Museo Cantonale d'Arte, 2007, p. 236, no. 181 (another from the edition exhibited, illustrated in colour, p. 201).
Berlin, Hamburger Bahnhof, Collection Exhibition, 2007 (another from the edition exhibited).
New York, The Metropolitan Museum of Art, The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions, 2008-2009, p. 136, no. 157 (another form the edition exhibited, illustrated in colour, p. 137)
Athens, Museum of Cycladic Art Athens, Thomas Struth, 2009, p. 53 (another from the edition exhibited, illustrated in colour, p. 32).
Zurich, Kunsthaus Zürich, Thomas Struth: Fotografien 1978-2010, 2010-2012 (another from the edition exhibited, illustrated in colour, pp. 89 and 205). This exhibition later travelled to Dusseldorf, Kunstsammlung Nordrhein-Westfalen, K20 Grabbeplatz, London, Whitechapel Gallery and Porto, Museu de Serralves, Museu de Arte Contemporânea.
Williamstown, Sterling and Francine Clark Art Institute, Photographs by Candida Höfer and Thomas Struth, 2011 (another from the edition exhibited).
Bonn, Kunstmuseum Bonn, Through the Looking Brain: A Swiss Collection of Conceptual Photography, 2011-2012, p. 229 (illustrated in colour, pp. 174-175). This exhibition later travelled to St. Gallen, Kunstmuseum St. Gallen.
Marseille, La Friche Belle de Mai, Tour Panorama, Des images comme des oiseaux: Une traversée dans la collection photographique du Centre national des arts plastiques, 2013 (another from the edition exhibited).
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

Brought to you by

Alexandra Werner
Alexandra Werner

Lot Essay

A luminous large scale photograph bathed in light, in San Zaccaria, Venice, 1995, is one of Thomas Struth's most accomplished photographic works. One of only three editions left outside of museums, editions of San Zaccaria, Venice are included in the Sammlung Marx im Hamburger Banhof Museum für Gegenwart, Berlin, Astrup Fearnley Museet for Moderne Kunst, Oslo, Le Fonds National de l'art Contemporain, Paris, The Cleveland Museum, Cleveland, Metropolitan Museum of Art, New York, and The Kunsthaus Zürich, Zurich.

'The body of work Struth made in places of worship in different cultures around the world developed over a number of years. The genesis of these works can be seen in some of the Museum Photographs, which included people looking at religious paintings in museums In San Zaccaria, Venice (1995) Struth constructed his composition around the central figures of the Madonna and Child in Giovanni Bellini's Sacra Conversazione and included a number of visitors involved in different acts of looking, from aesthetic to religious contemplation. Struth had been introduced to Bellini's painting by the Scottish art historian Giles Robertson, the subject of two of Struth's earliest portraits. Robertson had published an important monograph on Bellini in 1968 in which the Sacra Conversazione was the frontispiece. Struth had become fascinated by the presence of the painting in its original setting whilst spending some time in Venice in 1990 in residence at the Centro Tedesco di Studi Veneziani. 'Looking at works which had not been isolated from their original context, which were still in the place and perhaps in the belief system for which they had originally been made, stimulated new possibilities. Having been raised as a Catholic I was reluctant to expand my work from the realm of art-historical museums into the domain of the religious'' (T. Struth, quoted in A. Kruszynski, T. Bezzola, J. Lingwood (eds.), Thomas Struth Photographs 1978 - 2010, New York 2004, p. 204).

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