FAZ-Übermalung (FAZ Overpainted)
FAZ-Übermalung (FAZ Overpainted)
Signed Print
Gerhard Richter
£70,000-£100,000
$130,000-$190,000 Value Indicator
$120,000-$170,000 Value Indicator
¥630,000-¥900,000 Value Indicator
€80,000-€120,000 Value Indicator
$680,000-$980,000 Value Indicator
¥13,660,000-¥19,510,000 Value Indicator
$90,000-$130,000 Value Indicator
AAGR (5 years) 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.
Medium: Lithograph
Edition size: 32
Year: 2002
Size: H 39cm x W 55cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2022 | Ketterer Kunst Hamburg - Germany | FAZ-Übermalung (FAZ Overpainted) - Signed Print | |||
| January 2017 | Lempertz, Cologne - Germany | FAZ-Übermalung (FAZ Overpainted) - Signed Print | |||
| May 2016 | Bonhams New York - United States | FAZ-Übermalung (FAZ Overpainted) - Signed Print |
Meaning & Analysis
FAZ-Übermalung (FAZ Overpainted) is a signed lithograph created by Dresden-born painter Gerhardt Richter in 2002. The artwork presents an old newspaper page overlaid with layers of paint varying in texture, colour, and intensity. A fragment of a human hand appears in the lower right corner of the print, its luminous glow creating a striking juxtaposition with the written text and surrounding layers of paint.
Ever since Richter started to experiment with the medium of photography, the practice of overpainting has been key to his works. In such artworks as Firenze and Kassel, the artist covers photographs with vibrant swirls of colours, applying the paint directly to the photographic surface. In FAZ-Übermalung, instead of a photograph, it is a page of an old newspaper that has been covered with richly coloured layers of paint.
The newspaper article is only dimly visible as the blotches of grey paint sprawl across almost the entire surface of the print. Layers of orange and red paint appear underneath the dominant grey surface, bearing traces of linear strokes that remind one of Richter’s signature squeegee technique. A curious quality of the amalgamation of colours is the difference in the texture and intensity of each layer of paint. Richter’s interest here lies in the materiality and physical experience of the artwork. The artist commented in the context of overpainting: “Painting always has reality: you can touch the paint; it has presence; but it always yields a picture”.