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Abstraktes Bild (P1) - Unsigned Print by Gerhard Richter 1990 - MyArtBroker

Abstraktes Bild (P1)
Unsigned Print

Gerhard Richter

£22,000-£35,000Value Indicator

$45,000-$70,000 Value Indicator

$40,000-$60,000 Value Indicator

¥200,000-¥320,000 Value Indicator

26,000-40,000 Value Indicator

$210,000-$340,000 Value Indicator

¥4,130,000-¥6,580,000 Value Indicator

$27,000-$45,000 Value Indicator

-1% 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: Digital Print

Edition size: 500

Year: 1990

Size: H 92cm x W 126cm

Signed: No

Format: Unsigned Print

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Track auction value trend

The value of Gerhard Richter’s Abstraktes Bild (P1) is estimated to be worth between £22,000 and £35,000. This unsigned digital print, created in 1990, has shown consistent value growth. Over the past five years, the hammer price has ranged from £1,000 in November 2023 to £44,643 in September 2020. This artwork demonstrates an average annual growth rate of 1%. This is a popular work, having been sold 49 times at auction since its initial sale in February 2015. The edition size of this artwork is limited to 500.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
Aguttes, Paris France
June 2024Germann Auctions Switzerland
January 2024Phillips London United Kingdom
November 2023Forum Auctions London United Kingdom
June 2023Phillips London United Kingdom
June 2022Bonhams New Bond Street United Kingdom
December 2021Phillips London United Kingdom

Meaning & Analysis

Instantly recognisable as an example of Richter’s work, Abstraktes Bild (P1) speaks to the complexity and diversity of the seminal German artist’s deconstructive approach to painting. Contrasting with Richter’s historical, photographic paintings, such as Elisabeth II (1966) and the world-famous 48 Portraits (1972) series, which showcase an intricate, photorealist approach to likeness, this work is characterised by looseness of touch. Leaving his practice open to the generative possibilities of error, here Richter adorns the canvas with a base of block colour; working over the space of several hours, Richter then adds – and removes – layers of other colours to reveal a dynamic, granular view of their dramatic interaction.

Like many others in the Abstract collection, this work references Richter’s strict socialist realist training, which he received at the Dresden Academy during the 1960s. Then under the aegis of East Germany’s ruling SED – or Socialist Unity Party – and within the Soviet sphere of influence, the art school was restrictive. Together with the Documenta II exhibition (1959), held in the West German city of Kassel and featuring works by Jackson Pollock and Pablo Picasso, its limitations pushed Richter to first leave East Germany, and later call for the ‘death’ of ‘painting itself’.