Die Welt
Die Welt
Signed Print
Gerhard Richter
Price data unavailable
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Medium: Digital Print
Format: Signed Print
Year: 2012
Size: H 57cm x W 40cm
Edition size: 100
Signed: Yes
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Track auction value trend
The value of Gerhard Richter's Die Welt (signed) is estimated to be worth between £4,350 to £6,500. This digital print artwork, created in 2012, has had a total of 3 sales at auction since its first sale on 30th November 2013. The edition size of this artwork is limited to 100.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2015 | Lempertz, Cologne - Germany | Die Welt - Signed Print |
Meaning & Analysis
Entitled Die Welt, this digital print is the work of German artist Gerhard Richter. Issued in 2012 in an edition of 100, and signed by the artist, it comprises a front-cover of German newspaper Die Welt designed by Richter in 2012.
Like other works, such as IBM, Goldberg Variationen, and Bahnhof Hannover, this print indexes Richter’s interest in the subject of contemporary German culture and society, as well as his own role as an artist within the wider German socio-cultural scene. Turning his attention to one of the major German broadsheet newspapers, Die Welt, the artist hones in on an article about his life and work entitled Die Welt des Gerhard Richter - ‘the world of Gerhard Richter’ - that is complete with an image of one of his ‘photopaintings’. A pun-filled mise-en-abyme referencing Richter’s status as one of Germany’s most famous artists, the newspaper-based print references the artist’s well-known role as the foremost critic of German Contemporary Art, as well his own personal sensibilities as a collector of images.
Designed by Richter himself, the newspaper features the following sub-heading: ‘Eine Zeitung als Sammlerstück: Gerhard Richter, der große Zweifler der Gegenwartskunst, hat eine komplette Ausgabe der 'Welt' gestaltet. Unr wir? Schauen und wundern uns' - ‘A newspaper as a collector's item: Gerhard Richter, the great doubter of contemporary art, has designed a complete issue of 'Die Welt'. And us? Look and wonder.’ A work that would not be out of place in Richter’s Atlas, the print is imbued with a sense of the artist’s scepticism of art as a leading force in today’s market and spectacle-orientated economies. Faintly mocking, the print reminds us that for some in Germany, Richter is a controversial figure.
