0% Sellers Fees on Gerhard Richter Prints
Strip - Signed Print by Gerhard Richter 2011 - MyArtBroker

Strip
Signed Print

Gerhard Richter

POA

This estimate blends recent public auction records with our own private sale data and network demand.

Digital Print, 2011
Signed Print Edition of 72
H 32cm x W 92cm

Jasper Tordoff

Own this artwork?

Jasper Tordoff, Acquisition Coordinator

The
MyArtbroker
Advantage
  • Authenticity Guarantee
  • 0% Seller's fee
  • Powered by our private trading algorithm

Track value

Unlock up-to-the-minute market data on Gerhard Richter's Strip, login or create a free account today

Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
March 2022Phillips London - United KingdomStrip - Signed Print
March 2019Phillips London - United KingdomStrip - Signed Print
July 2015Christie's London - United KingdomStrip - Signed Print
November 2014Lempertz, Cologne - GermanyStrip - Signed Print

Meaning & Analysis

Comprising a number of thin strips of individual colour, arranged horizontally, this digital print marks Richter’s first forays into digital ‘painting’ - a practice championed by the likes of Warhol and Hockney. Building on the conceptual frameworks behind the abstract Cage Grid and Flow series, this print sees Richter turn to photography as a technological and artistic means to re-work his painterly productions. Although wholly different in terms of composition, Strip engages in a direct dialogue with Richter’s seminal painting, Abstraktes Bild (P1). As outlined in the artist’s book, Patterns: Divided, Mirrored, Repeated, to make Strip Richter first photographed several different areas of Abstraktes Bild (P1), a painting completed in 1993. The artist then stretched these photographs using a photo editing software to produce a number of individual layers, each ‘filled’ with an area of block colour taken from the original painting. Lastly, these would be arranged and then laminated onto aluminium.

Recalling the work of British artist, Bridget Riley, this artwork is testament to the heterogeneity and innovation of Richter’s artistic practice. Harnessing the representational powers of photography, which he has referenced in countless photorealist paintings, such as Betty (1991), and in his Übermalungen (‘overpainted photographs’), Richter puts the medium to work on his abstracts. Testing, stretching, and redefining the remit of the abstract painting, Richter testifies to his own capacity for innovation.

Related work