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Besetztes Haus (Squatter's House) - Signed Print by Gerhard Richter 1990 - MyArtBroker

Besetztes Haus (Squatter's House)
Signed Print

Gerhard Richter

£3,650-£5,500Value Indicator

$7,000-$11,000 Value Indicator

$6,500-$10,000 Value Indicator

¥35,000-¥50,000 Value Indicator

4,400-6,500 Value Indicator

$35,000-$50,000 Value Indicator

¥690,000-¥1,040,000 Value Indicator

$4,600-$7,000 Value Indicator

2% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Lithograph

Edition size: 100

Year: 1990

Size: H 62cm x W 80cm

Signed: Yes

Format: Signed Print

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The value of Gerhard Richter's Besetztes Haus (Squatter's House) (signed) lithograph, created in 1990, is estimated to be worth between £3,650 and £5,500. Over the past five years, the hammer price has ranged from £3,889 in April 2023 to £11,810 in June 2022. This artwork has shown consistent value growth, with an average annual growth rate of 2%. This is a rare work, with an auction history of 12 total sales since its entry to the market in September 2008. The edition size of this artwork is limited to 100.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
June 2023Karl & Faber Germany
April 2023Sotheby's New York United States
June 2022Koller Zurich Switzerland
December 2020Lempertz, Cologne Germany
December 2019Ketterer Kunst Hamburg Germany
June 2017Lempertz, Cologne Germany
April 2016Sotheby's New York United States

Meaning & Analysis

Based on a photograph taken from Richter’s Atlas - a vast assemblage of found images, newspaper cuttings, and family photographs - Besetztes Haus is a stunning image painted in a photorealistic style. Depicting the side of an apartment building in Richter’s home country of Germany, it is striking for its monochromatic palette as well as for its realism. To the right of the image, trees and shrubbery assume an abstract form that is nonetheless true to life; to its left, the ghostly outline of an apartment building speaks to Richter’s skill at portraying light and shadow. Despite its subject matter - a squatter’s house -  the image sees Richter refrain from political or ideological commentary - something he has often done in the past, having grown up surrounded by both Nazism and Communism. Rather, the artist observes the material reality of the world around him, portraying it as it is.

Richter’s Atlas makes reference to a central figures in European art history: Aby Warburg. Born in the late 19th century, Warburg invented a new way of looking at art and images, which he dubbed ‘iconology’. Warburg’s ‘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 - was arranged thematically in as diverse categories. These included ‘coordinates of memory’, ‘vehicles of tradition’ and ‘archaeological models’. With his own Atlas, Richter constructs a similar assemblage of images that refer to historical events, such as the rise of Mao in China and the Holocaust, as well as key moments in his personal life.

  • 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.