Aladin (P11)
Aladin (P11)
Unsigned Print
Gerhard Richter
£2,350-£3,450 VALUE (EST.)
$4,300-$6,500 VALUE (EST.)
$3,950-$6,000 VALUE (EST.)
¥20,000-¥29,000 VALUE (EST.)
€2,700-€3,950 VALUE (EST.)
$23,000-$35,000 VALUE (EST.)
¥380,000-¥560,000 VALUE (EST.)
$2,900-$4,250 VALUE (EST.)
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 37cm x W 50cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2021 | Sotheby's Paris - France | Aladin (P11) - Unsigned Print | |||
| November 2021 | Christie's Paris - France | Aladin (P11) - Unsigned Print | |||
| September 2021 | Sotheby's Online - United Kingdom | Aladin (P11) - Unsigned Print | |||
| June 2021 | Ketterer Kunst Hamburg - Germany | Aladin (P11) - Unsigned Print | |||
| October 2020 | Forum Auctions London - United Kingdom | Aladin (P11) - Unsigned Print | |||
| November 2019 | Van Ham Fine Art Auctions - Germany | Aladin (P11) - Unsigned Print | |||
| April 2019 | Tate Ward Auctions - United Kingdom | Aladin (P11) - Unsigned Print |
Meaning & Analysis
The work of influential and prolific German visual artist, Gerhard Richter, this unsigned print was issued in 2014, in an edition of 500. Part of the Flow series, it is made after an unusually fluid example of Richter’s abstract painting that recalls the practice of paper marbling, popular in the 19th century.
Dissimilar from works in Richter’s Colour Charts, Cage Prints, Cage f.ff and Cage Grid series, Aladdin (P11) is a digital print which sees Richter experiment with the creative possibilities of surface tension and painting. Where in his squeegee-based Cage paintings Richter might turn to the squeegee as a tool for applying and embellishing ‘classic’ tones of oil paint, here the artist sets his medium on the floor, diluting paints and allowing them to travel across its surface. Leaving the work open to error and serendipity alike, there is a deep sense of experimentation in its bright, dream-like composition.
As an art student of the 1950s, Richter is fiercely unusual. The recipient of an artistic training in socialist realist painting - an attribute unusual for an artist who moved to the ‘West’ in 1961 - Richter has nonetheless spent much of his career dealing with non-representation. Concerned chiefly with artistic process as opposed to likeness, Richter’s nature as a conceptual artist has led him to deal with a variety of intangible issues, ranging from memory to the divine. Always keen to disrupt tradition, Richter once confessed that his artistic practice has the ultimate goal of bringing about the ‘death’ of painting.
