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Loo Paper - Signed Print by Gerhard Richter 1994 - MyArtBroker

Loo Paper
Signed Print

Gerhard Richter

£45,000-£70,000Value
Indicator

$90,000-$130,000 Value Indicator

$80,000-$120,000 Value Indicator

¥410,000-¥630,000 Value Indicator

50,000-80,000 Value Indicator

$450,000-$690,000 Value Indicator

¥8,390,000-¥13,050,000 Value Indicator

$60,000-$90,000 Value Indicator

52% 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.

Photographic print, 1994
Signed Print Edition of 24
H 71cm x W 66cm

Jasper Tordoff
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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
February 2020Christie's London - United KingdomLoo Paper - Signed Print
March 2016Christie's New York - United StatesLoo Paper - Signed Print
December 2013Ketterer Kunst Hamburg - GermanyLoo Paper - Signed Print
October 2012Christie's London - United KingdomLoo Paper - Signed Print
May 2000Christie's New York - United StatesLoo Paper - Signed Print

Meaning & Analysis

Loo Paper is a signed photographic print after the painting Toilet Paper [CR: 75-3], which Richter painted in 1965. The print’s source image was itself based on a photograph - a fact referenced by its markedly two-dimensional, ‘blurred’ style. To the left of the image, lighter shades of grey, blue, and white mix  to give the impression of an interior wall, lit from a window. Yet with these shadows in mind, the focal point of the image - a loo roll - appears to sit awkwardly on the very same wall. Deviating from the photographic ‘truth’ of its source image, the painting deconstructs the still life scene by ‘blurring’ it into patches of uniform tone. Behind this visual technique of ‘blurring’ is a particular philosophy. Richter explains: ‘I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.’

Part of the Atlas series, Loo Roll references Richter’s sizable collection of visual material of the same name, which comprises found images, newspaper cuttings, and family photographs. Assembled since the 1960s, when Richter fled from East Germany with his young family to settle in the West German city of Düsseldorf,  the Atlas collection has formed the referential basis of many of the artist’s paintings, including Elisabeth II (1966) and Hund (1965).

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