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Gerhard Richter

Hood Signed Print

Hood

Gerhard Richter

Hood
Signed Print

Name: Hood
Brand: Gerhard Richter
Rating: 5 (233 reviews)

Gerhard Richter

£1,550-£2,350Value Indicator

$3,200-$4,900 Value Indicator

$2,850-$4,350 Value Indicator

¥15,000-¥23,000 Value Indicator

€1,800-€2,750 Value Indicator

$16,000-$24,000 Value Indicator

¥290,000-¥440,000 Value Indicator

$2,050-$3,100 Value Indicator

-8% AAGR

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: 60

Year: 1996

Size: H 44cm x W 44cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Gerhard Richter's Hood (signed) is estimated to be worth between £1,550 and £2,350. This lithograph print, created in 1996, has shown consistent value growth since its first sale in November 2006. Over the past 12 months, the average selling price was £1,753, across a total of 2 sales. In the last five years, the hammer price has varied from £1,506 in October 2024 to £11,772 in February 2023. This work has an auction history of 10 total sales. The edition size of this artwork is limited to 60.

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Auction Results

Auction Date	Auction House	Location
October 2024	Bonhams Los Angeles	United States
September 2024	Sotheby's New York	United States
June 2024	Phillips London	United Kingdom
April 2024	Phillips New York	United States
November 2023	Sotheby's Paris	France
November 2023	Van Ham Fine Art Auctions	Germany
February 2023	Ketterer Kunst Hamburg	Germany

Meaning & Analysis

Released in a limited edition of 60, Hood (1996) is an offset lithograph in colour by internationally renowned painter, Gerhard Richter. The artwork depicts two individuals in hoods, their blurry silhouettes striking with a sense of anonymity. The photographic image has been overpainted with a thick layer of oil paint, representing the artist’s innovative way of thinking about the modern media, texture, and materiality of the artwork.

The practice of overpainting has been key to Gerhard Richter’s works ever since he started to experiment with the medium of photography. In such artworks as Firenze, Richter covers photographs with vibrant swirls of colours, applying the paint directly to the photographic surface. The artist commented in the context of his practice: “I do not pursue any particular intentions, system, or direction. I do not have a programme, a style, a course to follow. I have brought not being interested in specialist problems, working themes, in variations towards mystery. I shy away from all restrictions, I do not know what I want, I am inconsistent, indifferent, passive; I like things that are indeterminate and boundless, and I like persistent uncertainty”.

Hailing from Germany, Gerhard Richter has not been confined to one visual style. A testament to versatility and artistic diversity, Richter's work spans from photorealism to abstraction and conceptual art, and his portfolio is rich in varied media. From creating bold canvases to working on glass to distort the lines between wall-based art and sculpture, Richter has honed in on the blur technique to impart an ambiguity on his creations. To this day, Richter is one of the most recognised artists of the 20th century with his art having been presented in exhibitions worldwide. His global impact underscores his legacy as a trailblazer of artistic exploration.

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