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Eis 2 (Ice) - Signed Print by Gerhard Richter 2003 - MyArtBroker

Eis 2 (Ice)
Signed Print

Gerhard Richter

£50,000-£70,000Value Indicator

$100,000-$140,000 Value Indicator

$90,000-$120,000 Value Indicator

¥450,000-¥630,000 Value Indicator

60,000-80,000 Value Indicator

$480,000-$670,000 Value Indicator

¥9,590,000-¥13,420,000 Value Indicator

$60,000-$90,000 Value Indicator

10% 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: Screenprint

Edition size: 108

Year: 2003

Size: H 102cm x W 81cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Gerhard Richter's Eis 2 (Ice) (signed) is estimated to be worth between £50,000 and £70,000. Over the past five years, the hammer price has ranged from £30,318 in October 2020 to £73,500 in March 2022. This screenprint has shown consistent value growth, with an average annual growth rate of 10%. This work is popular on the market, having been sold 59 times since its initial sale in September 2003. The edition size of this artwork is limited to 108.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
Sotheby's London United Kingdom
June 2024Van Ham Fine Art Auctions Germany
April 2023Sotheby's New York United States
March 2023Phillips New York United States
July 2022Sotheby's New York United States
March 2022Sotheby's Online United Kingdom
November 2021Sotheby's Paris France

Meaning & Analysis

A screen print based on a much larger painting of the same name, which Richter executed in 1989, Eis 2 (I) is a vibrant and dynamic image. Speaking to Richter’s unmatched abilities as an abstract painter, the work comprises a monochromatic background complete with flecks of green, blue, red, and yellow. Revealing many layers of deep colour concealed below, these traces speak to the creative process that saw Richter create this work. Produced using large ‘squeegees’, home-made by Richter’s assistants, the original painting is the end result of hours of deliberation. Covering each squeegee with different colours of oil paint - all ‘classic’ colours, his assistants insist - Richter drags these across the canvas, adding paint before later taking it away. The visible translation of an accidental creative process, this work contrasts with other, semi-realist elements of the War Cut collection, such as Elisabeth II (1966), Besetztes Haus (Squatter’s House) (1990) and Orchid II (1998).

Richter’s unorthodox approach to painting is largely product of his upbringing in both Nazi Germany and, post-1945, the former East Germany, or German Democratic Republic. In both countries, and from a young age, Richter was confronted by the excesses of ideology. In Dresden, his home city, Richter received his first artistic training in a fiercely ideological mode: the Dresden Academy, where he was a student, was confined mostly to teaching a ‘Socialist Realist’ style designed to depict the glories of state Communism. Party to groundbreaking exhibitions in ally-controlled West Berlin on only rare occasions, Richter came to reject his restrictive training, using his artistic practice as a means to bring about the ‘death of painting itself’.