0% Sellers Fees on Gerhard Richter Prints
Flow (P6) - Unsigned Print by Gerhard Richter 2014 - MyArtBroker

Flow (P6)
Unsigned Print

Gerhard Richter

£3,700-£5,500 VALUE (EST.)

$7,000-$10,500 VALUE (EST.)

$6,000-$9,000 VALUE (EST.)

¥35,000-¥50,000 VALUE (EST.)

4,250-6,500 VALUE (EST.)

$35,000-$50,000 VALUE (EST.)

¥670,000-¥1,000,000 VALUE (EST.)

$4,550-$7,000 VALUE (EST.)

-4% 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, 2014
Unsigned Print Edition of 500
H 45cm x W 45cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
September 2020Sotheby's London - United KingdomFlow (P6) - Unsigned Print
March 2020Sotheby's London - United KingdomFlow (P6) - Unsigned Print
March 2019Christie's London - United KingdomFlow (P6) - Unsigned Print
June 2018Sotheby's Milan - ItalyFlow (P6) - Unsigned Print
September 2017Sotheby's London - United KingdomFlow (P6) - Unsigned Print
June 2016Wright - United StatesFlow (P6) - Unsigned Print
April 2016Christie's London - United KingdomFlow (P6) - Unsigned Print

Meaning & Analysis

Another particularly successful work of Richter’s, Flow (P6) references the artist’s experimentations with diluted oil paints during the 2010s. Altogether different in its relationship to abstraction and non-representation than other works in the Cage Prints, Cage f.ff and Cage Grid series, this print is saturated with a strong sense of movement, and indeed of the relative absence of any trace of its creator. We are used to seeing Richter’s abstract artworks as highly-complex paintings product of hours of deliberation, and an accretive painterly process that sees the artist add and subtract layers of paint with large, home-made ‘squeegees’. In this work, as in the rest of the Flow series, paint and colour moves independently, interacting with itself to leave a visual trace of fluid mechanics.

Destructive in the sense that it works to undo traditional methods of painting, this artwork can be seen as a direct relative of Richter’s many photorealist paintings, such as the world famous Betty. In these works, the rigid borders of form are elided by way of a ‘blurring’ technique. Commenting on his reasoning behind the blur technique, Richter once confessed: “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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