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Ifrit (P8) - Unsigned Print by Gerhard Richter 2014 - MyArtBroker

Ifrit (P8)
Unsigned Print

Gerhard Richter

£4,100-£6,000 VALUE (EST.)

$8,000-$11,500 VALUE (EST.)

$7,000-$10,000 VALUE (EST.)

¥35,000-¥50,000 VALUE (EST.)

4,750-7,000 VALUE (EST.)

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

¥710,000-¥1,040,000 VALUE (EST.)

$5,000-$7,500 VALUE (EST.)

13% AAGR (5YR)

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

Digital Print, 2014
Unsigned Print Edition of 500
H 33cm x W 44cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
June 2022Lempertz, Cologne - GermanyIfrit (P8) - Unsigned Print
March 2022Sotheby's Online - United KingdomIfrit (P8) - Unsigned Print
April 2021Phillips New York - United StatesIfrit (P8) - Unsigned Print
March 2020Sotheby's London - United KingdomIfrit (P8) - Unsigned Print
November 2019Van Ham Fine Art Auctions - GermanyIfrit (P8) - Unsigned Print
July 2019Phillips London - United KingdomIfrit (P8) - Unsigned Print
March 2019Christie's London - United KingdomIfrit (P8) - Unsigned Print

Meaning & Analysis

Whilst other prints in Richter’s Abstract collection make tangible and visual reference to his innovative use of large, home-made ‘squeegees’ as a means to apply paint to a canvas surface, Ifrit (P8) testifies to the artist’s use, from 2010, of a new medium: lacquer. Resembling the dynamic and alchemical effects produced by marbling during the 19th century, this work sees Richter engage, once again, with non-representation and abstraction. Quite unlike works inspired by Richter’s Atlas - an enormous compilation of image-based materials compiled over the course of the artist’s long and epoch-defining career - Ifrit (P8) takes a deep stare into the creative possibilities afforded by chance, error, and a loose hand.


Deviating from his photographic, historically referential works, which include the iconic images Onkel Rudi (1965) and September (2005), Richter makes a roundabout return to his time at art school during the 1950s and 60s. At the Dresden Academy - an institution then under the control of East Germany’s ruling SED party and firmly within the Soviet sphere of influence - Richter was restricted to reproducing ‘socialist realist’ styles, and large-scale political murals. This experience - coupled with a visit to the 1959 Documenta exhibition, where Richter was introduced to ground-breaking Western art, and the likes of Jackson Pollock and Pablo Picasso - had a lasting effect. Constantly calling for the ‘death’ of traditional painting, Richter has continued to challenge artistic norms and boundaries.

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