$5,000-$7,500 Value Indicator
$4,600-$7,000 Value Indicator
¥24,000-¥35,000 Value Indicator
€3,150-€4,700 Value Indicator
$26,000-$40,000 Value Indicator
¥490,000-¥740,000 Value Indicator
$3,400-$5,000 Value Indicator
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.
Format: Signed Print
Size: H 32cm x W 45cm
Edition size: 150
|Auction Date||Auction House||Artwork|
Return to Seller
|December 2018||Lempertz, Cologne - Germany||Atelier (Studio) - Signed Print|
|May 2017||Van Ham Fine Art Auctions - Germany||Atelier (Studio) - Signed Print|
|December 2016||Ketterer Kunst Hamburg - Germany||Atelier (Studio) - Signed Print|
|November 2013||Van Ham Fine Art Auctions - Germany||Atelier (Studio) - Signed Print|
|December 2007||Christie's Paris - France||Atelier (Studio) - Signed Print|
|November 2007||Swann Auction Galleries - United States||Atelier (Studio) - Signed Print|
Part of the War Cut collection, Atelier (Studio) is a 1968 offset lithograph print by venerated German artist, Gerhard Richter. Signed by the artist, it was issued in a limited edition of 150 and offers a ghostly, semi-realist depiction of Richter’s studio.
Speaking to Richter’s love of photography, this print should be digested alongside the photorealistic ‘blur’ paintings completed by the artist during the late 1960s and early 70s. Although conceptually dissimilar to such contemporaneous works as the world-famous 48 Portraits series (1972), or the ghostly Mao (1968), Atelier (Studio) references the genesis of Richter’s interest in blurring images so as to render them ‘technological’ and ‘almost perfect’ in appearance. Recalling the kind of static, nocturnal image captured by a modern-day CCTV camera, the print hones in on the fuzzy, monochromatic outline of Richter’s first studio in the West German city of Düsseldorf.
In 1961, at the age of just 29, Richter escaped East Germany for the West. Making this bold move just months prior to the building of the Berlin Wall - a physical barrier that would have likely obstructed him in his desire to reach artistic and personal freedom - Richter later settled in Düsseldorf. A wealthy and bureaucratic city, Düsseldorf differed greatly from Richter’s birthplace, Dresden - a city still racked by the vestiges of allied bombardment during World War Two and firmly under the control of the ruling SED party, a puppet of the Soviet Union. At the Kunstakademie Düsseldorf, Richter co-founded the Capitalist Realism art movement, parodying the consumer-driven culture of his new surroundings as well as his strict socialist realist training, which he received back in Dresden.