The World's Largest Modern & Contemporary Prints & Editions Platform
Annunciation After Titian (P12) - Unsigned Print by Gerhard Richter 2015 - MyArtBroker

Annunciation After Titian (P12)
Unsigned Print

Gerhard Richter

Price data unavailable

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: Giclée print

Edition size: 50

Year: 2015

Size: H 125cm x W 200cm

Signed: No

Format: Unsigned Print

TradingFloor

1 want this
Find out how Buying or Selling works.
Track this artwork in realtime

Watch artwork, manage valuations, track your portfolio and return against your collection

Track auction value trend

The value of Gerhard Richter's Annunciation After Titian (P12) (2015) is estimated to be worth between £50,000 and £80,000. This Giclée print, which is unsigned, has shown consistent value growth since its first sale in May 2017. This is a rare artwork with an auction history of two sales. The edition size of this artwork is limited to 50.

Unlock up-to-the-minute market data on Gerhard Richter's Annunciation After Titian (P12), login or create a free account today

Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
April 2019Phillips London United Kingdom
October 2017Phillips London United Kingdom
May 2017Sotheby's New York United States

Meaning & Analysis

This spell-binding Richter print engages thoughtfully with a masterwork of classical painting: Titians’ Annunciation, painted in around 1539. Housed at Venice’s Scuola Grande di San Rocco - a large building in the northern Italian city famed for housing a large number of works by Venetian painter Tintoretto, who was once the apprentice of Titian himself - the Annunciation is one of the most famous works of Renaissance art in existence. This particular print is not just a copy of Titian’s masterpiece, however; rather, it is one in a series of 5 paintings depicting the same subject matter, each of which, when viewed in sequence, becomes more and more ‘blurred’. This ‘blurring’ operates as if to mimic a  staged conceptual retreat from not only the referentiality of the original painting, but from the original’s relationship to Christian theology. A standout example of Richter’s ‘blur’ technique, Annunciation After Titian (P12) speaks to Richter’s complicated relationship to art historical past and present.

Richter has cited his practice of ‘blurring’ as an attempt to create ‘technological’ images devoid of any overly prominent or distracting elements. Blurring is also an expression of Richter’s close relationship to photography. The basis of Richter’s many photorealist paintings, such as the internationally recognisable Betty (1991), is what the artist names his Atlas: a huge collection of found images, newspaper cuttings, and family photographs, that references the work of prominent art historian Aby Warburg and his Mnemosyne Atlas -: a large-scale study of art consisting of 40 panels, onto which were affixed around 1,000 images from newspapers, magazines, and books. This large-scale ‘atlas’ was arranged thematically in as diverse categories as ‘coordinates of memory’, ‘vehicles of tradition’ and ‘archaeological models’. In his own Atlas, Richter constructs a similar string of images that also refer to historical events, such as the rise of Mao in China and the Holocaust, as well as key moments in his personal life.