£60,000-£90,000Value Indicator
$120,000-$180,000 Value Indicator
$110,000-$160,000 Value Indicator
¥540,000-¥810,000 Value Indicator
€70,000-€110,000 Value Indicator
$580,000-$870,000 Value Indicator
¥11,580,000-¥17,370,000 Value Indicator
$70,000-$110,000 Value Indicator
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Medium: Digital Print
Edition size: 72
Year: 2011
Size: H 32cm x W 92cm
Signed: Yes
Format: Signed Print
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Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
---|---|---|---|---|---|
March 2024 | SBI Art Auction | Japan | |||
March 2022 | Phillips London | United Kingdom | |||
March 2019 | Phillips London | United Kingdom | |||
February 2017 | Lempertz, Cologne | Germany | |||
July 2015 | Christie's London | United Kingdom | |||
November 2014 | Lempertz, Cologne | Germany |
This signed 2011 digital print is the work of venerated German visual artist, Gerhard Richter. Entitled Strip, the work belongs to both the artist’s Photography collection and a series entitled Strip Paintings, which the artist began in 2010.
Comprising a number of thin strips of individual colour, arranged horizontally, this digital print marks Richter’s first forays into digital ‘painting’ - a practice championed by the likes of Warhol and Hockney. Building on the conceptual frameworks behind the abstract Cage Grid and Flow series, this print sees Richter turn to photography as a technological and artistic means to re-work his painterly productions. Although wholly different in terms of composition, Strip engages in a direct dialogue with Richter’s seminal painting, Abstraktes Bild (P1). As outlined in the artist’s book, Patterns: Divided, Mirrored, Repeated, to make Strip Richter first photographed several different areas of Abstraktes Bild (P1), a painting completed in 1993. The artist then stretched these photographs using a photo editing software to produce a number of individual layers, each ‘filled’ with an area of block colour taken from the original painting. Lastly, these would be arranged and then laminated onto aluminium.
Recalling the work of British artist, Bridget Riley, this artwork is testament to the heterogeneity and innovation of Richter’s artistic practice. Harnessing the representational powers of photography, which he has referenced in countless photorealist paintings, such as Betty (1991), and in his Übermalungen (‘overpainted photographs’), Richter puts the medium to work on his abstracts. Testing, stretching, and redefining the remit of the abstract painting, Richter testifies to his own capacity for innovation.
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.