Meer
Meer
Signed Print
Gerhard Richter
£3,650-£5,500
$7,000-$10,500 Value Indicator
$6,500-$10,000 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,350-€6,500 Value Indicator
$35,000-$60,000 Value Indicator
¥740,000-¥1,120,000 Value Indicator
$4,700-$7,000 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: 250
Year: 1973
Size: H 25cm x W 25cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Sotheby's London - United Kingdom | Meer - Signed Print | ||||
| Sotheby's London - United Kingdom | Meer - Signed Print | ||||
| December 2020 | Phillips London - United Kingdom | Meer - Signed Print | |||
| March 2019 | Bernaerts Auctioneers - Belgium | Meer - Signed Print | |||
| July 2018 | Sotheby's New York - United States | Meer - Signed Print | |||
| March 2016 | Lempertz, Cologne - Germany | Meer - Signed Print | |||
| February 2016 | Karl & Faber - Germany | Meer - Signed Print |
Meaning & Analysis
Meer is a signed offset lithograph by internationally acclaimed painter Gerhard Richter. An example of the artist’s foray into the landscape genre, Meer captures the diverse and constantly evolving nature of Richter’s oeuvre.
The artwork confronts the viewer with an experimental vision, in which a surface of the sea seems to be reflected above the horizontal line, replacing the image of the sky. The two images of water appear to mirror one another, although their patterns and textures differ. Created in 1973, the artwork captures the bright and buoyant side of Richter’s creative practice before it moves in the direction of sombreness and monochrome a year later. 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”.