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Kanarische Landschaften I - e - Signed Print by Gerhard Richter 1971 - MyArtBroker

Kanarische Landschaften I - e
Signed Print

Gerhard Richter

£3,000-£4,500Value Indicator

$6,000-$9,000 Value Indicator

$5,500-$8,000 Value Indicator

¥27,000-¥40,000 Value Indicator

3,600-5,500 Value Indicator

$29,000-$45,000 Value Indicator

¥570,000-¥860,000 Value Indicator

$3,800-$5,500 Value Indicator

13% 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: Photographic print

Edition size: 100

Year: 1971

Size: H 12cm x W 23cm

Signed: Yes

Format: Signed Print

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The value of Gerhard Richter's Kanarische Landschaften I - e (signed) is estimated to be worth between £3,000 to £4,500. This photographic print from 1971 has shown consistent value growth, with an average annual growth rate of 13%. This is a rare artwork, having been sold twice at auction since its initial sale in October 2005. In the last 12 months, the average selling price was £2,581, with a total sales volume of 1. Over the past five years, the average return to the seller has been £2,194. 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
May 2024Nosbüsch & Stucke Germany
October 2005Ketterer Kunst Hamburg Germany

Meaning & Analysis

This piece is a stunning example of Richter’s early forays into both landscape painting and colour. Emblematic of his smooth, highly-detailed ‘blurring’ effect, it bears similarities to the expansive, naturalistic images that accompany it, such as Kanarische Landscahften I - a and Kanarische Landschaften II -f, both completed in the same year. Ambitious in its remit, the image depicts the landscape of the Canary Islands as seen from a plane window, or a viewpoint - an aerial point of vision that recalls other works, such as Schweizer Alpen I - B3 (1969) or Bridge 14 Feb 45 (III) (2000). This latter piece references the allied bombing of Richter’s hometown on the same date. In addition, Richter’s realist treatment of cloud formations recalls Wolke (Cloud), produced just several years earlier.

Movement and travel has always been at the heart of Richter’s life, professional career, and artistic practice. In 1961, Richter made the bold move from Dresden - then in former communist East Germany - to the West German city of Düsseldorf. Recounting his life in Dresden, where he studied ‘socialist realist’ painting at the Dresden Academy, Richter once said: ‘it was terrible there; not only ‘unfree’, it was really terrible’. Able to visit West Berlin twice a year, Richter was shocked by the vibrant visual and artistic cultures that existed outside of the Soviet sphere of influence; films and exhibitions, such as the famous The Family Of Man exhibition organised by Edward Steichen of New York’s Museum of Modern Art (MoMA), were a revelation for Richter. The photographic basis of this particular exhibition had a profound impact on the young artist, who before then ‘knew only paintings’. The impact of photography on Richter is achingly present in Kanarische Landschaften I - e thanks to its constant reference to the ‘perfect’ and technological photographic image.

  • 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.