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Cage (P19-4) - Unsigned Print by Gerhard Richter 2020 - MyArtBroker

Cage (P19-4)
Unsigned Print

Gerhard Richter

£16,000-£24,000Value
Indicator

$30,000-$45,000 Value Indicator

$27,000-$40,000 Value Indicator

¥140,000-¥210,000 Value Indicator

18,000-28,000 Value Indicator

$150,000-$230,000 Value Indicator

¥2,910,000-¥4,360,000 Value Indicator

$19,000-$29,000 Value Indicator

34% 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.

Giclée print, 2020
Unsigned Print Edition of 200
H 100cm x W 100cm

TradingFloor

4 in network
2 want this
Jasper Tordoff
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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
September 2023Christie's London - United KingdomCage (P19-4) - Unsigned Print
September 2022Phillips London - United KingdomCage (P19-4) - Unsigned Print
September 2022Sotheby's Online - United KingdomCage (P19-4) - Unsigned Print
June 2022Phillips London - United KingdomCage (P19-4) - Unsigned Print
April 2022Phillips London - United KingdomCage (P19-4) - Unsigned Print
January 2022Phillips London - United KingdomCage (P19-4) - Unsigned Print
September 2021Sotheby's Online - United KingdomCage (P19-4) - Unsigned Print

Meaning & Analysis

Like its close cousin Cage (P19-3), Cage (P19-4) serves up a great deal of contrast with the remainder of the Cage Prints series. Also quite unlike other works in the Cage f.ff and Cage Grid series, this print is marked for its sustained use of monochromatic tones - chiefly greys -, its use of granular texture, and rejection of horizontal line. Behind visceral layers of grey paint, hidden layers of red, yellow, and black paint shine are only partially concealed, excavated from the image’s smoke-like mass by way of a palette knife.

Richter is known by many as the creative genius behind a large number of photorealistic paintings, often based on a large body of found and collected images which the artist dubs his ‘Atlas’.  These paintings, which include standout works such as Wolken (Clouds) (1969), are marked for their sustained use of the so-called ‘blur’ technique. Although not photorealistic but abstract, this print can be seen as a non-representational extension of the Richter blur. Part of the artist’s desire to deconstruct traditional artistic method, Richter sees his blur as a means to achieve a ‘technological’ mode of painting: “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.”

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