£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.)
This estimate blends recent public auction records with our own private sale data and network demand.
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Digital Print, 2014
Unsigned Print Edition of 500
H 45cm x W 45cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|September 2020||Sotheby's London - United Kingdom||Flow (P6) - Unsigned Print|
|March 2020||Sotheby's London - United Kingdom||Flow (P6) - Unsigned Print|
|March 2019||Christie's London - United Kingdom||Flow (P6) - Unsigned Print|
|June 2018||Sotheby's Milan - Italy||Flow (P6) - Unsigned Print|
|September 2017||Sotheby's London - United Kingdom||Flow (P6) - Unsigned Print|
|June 2016||Wright - United States||Flow (P6) - Unsigned Print|
|April 2016||Christie's London - United Kingdom||Flow (P6) - Unsigned Print|
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.”