Hood
Hood
Signed Print
Gerhard Richter
£4,000-£6,000
$7,500-$11,500 Value Indicator
$7,000-$10,000 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,700-€7,000 Value Indicator
$40,000-$60,000 Value Indicator
¥760,000-¥1,140,000 Value Indicator
$5,000-$7,500 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 60
Year: 1996
Size: H 44cm x W 44cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2023 | Sotheby's Paris - France | Hood - Signed Print | |||
| November 2023 | Van Ham Fine Art Auctions - Germany | Hood - Signed Print | |||
| February 2023 | Ketterer Kunst Hamburg - Germany | Hood - Signed Print | |||
| December 2017 | Lempertz, Cologne - Germany | Hood - Signed Print | |||
| April 2017 | Van Ham Fine Art Auctions - Germany | Hood - Signed Print | |||
| April 2009 | Ketterer Kunst Hamburg - Germany | Hood - Signed Print | |||
| November 2006 | Lempertz, Cologne - Germany | Hood - Signed Print |
Meaning & Analysis
Released in a limited edition of 60, Hood (1996) is an offset lithograph in colour by internationally renowned painter, Gerhard Richter. The artwork depicts two individuals in hoods, their blurry silhouettes striking with a sense of anonymity. The photographic image has been overpainted with a thick layer of oil paint, representing the artist’s innovative way of thinking about the modern media, texture, and materiality of the artwork.
The practice of overpainting has been key to Gerhard Richter’s works ever since he started to experiment with the medium of photography. In such artworks as Firenze, Richter covers photographs with vibrant swirls of colours, applying the paint directly to the photographic surface. The artist commented in the context of his practice: “I do not pursue any particular intentions, system, or direction. I do not have a programme, a style, a course to follow. I have brought not being interested in specialist problems, working themes, in variations towards mystery. I shy away from all restrictions, I do not know what I want, I am inconsistent, indifferent, passive; I like things that are indeterminate and boundless, and I like persistent uncertainty”.