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Abstraktes Bild (P1) - Unsigned Print by Gerhard Richter 1990 - MyArtBroker

Abstraktes Bild (P1)
Unsigned Print

Gerhard Richter

£30,000-£50,000 VALUE (EST.)

$60,000-$100,000 VALUE (EST.)

$50,000-$90,000 VALUE (EST.)

¥280,000-¥460,000 VALUE (EST.)

35,000-60,000 VALUE (EST.)

$300,000-$500,000 VALUE (EST.)

¥5,470,000-¥9,120,000 VALUE (EST.)

$40,000-$60,000 VALUE (EST.)

6% AAGR (5YR)

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.

Digital Print, 1990
Unsigned Print Edition of 500
H 92cm x W 126cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
June 2022Bonhams New Bond Street - United KingdomAbstraktes Bild (P1) - Unsigned Print
December 2021Phillips London - United KingdomAbstraktes Bild (P1) - Unsigned Print
October 2021Phillips London - United KingdomAbstraktes Bild (P1) - Unsigned Print
June 2021Phillips London - United KingdomAbstraktes Bild (P1) - Unsigned Print
December 2020Christie's Paris - FranceAbstraktes Bild (P1) - Unsigned Print
September 2020Christie's London - United KingdomAbstraktes Bild (P1) - Unsigned Print
September 2020Sotheby's London - United KingdomAbstraktes Bild (P1) - Unsigned Print

Meaning & Analysis

Instantly recognisable as an example of Richter’s work, Abstraktes Bild (P1) speaks to the complexity and diversity of the seminal German artist’s deconstructive approach to painting. Contrasting with Richter’s historical, photographic paintings, such as Elisabeth II (1966) and the world-famous 48 Portraits (1972) series, which showcase an intricate, photorealist approach to likeness, this work is characterised by looseness of touch. Leaving his practice open to the generative possibilities of error, here Richter adorns the canvas with a base of block colour; working over the space of several hours, Richter then adds – and removes – layers of other colours to reveal a dynamic, granular view of their dramatic interaction.

Like many others in the Abstract collection, this work references Richter’s strict socialist realist training, which he received at the Dresden Academy during the 1960s. Then under the aegis of East Germany’s ruling SED – or Socialist Unity Party – and within the Soviet sphere of influence, the art school was restrictive. Together with the Documenta II exhibition (1959), held in the West German city of Kassel and featuring works by Jackson Pollock and Pablo Picasso, its limitations pushed Richter to first leave East Germany, and later call for the ‘death’ of ‘painting itself’.

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