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Bagdad (P9) - Unsigned Print by Gerhard Richter 2014 - MyArtBroker

Bagdad (P9)
Unsigned Print

Gerhard Richter

£2,900-£4,300Value Indicator

$6,000-$8,500 Value Indicator

$5,000-$7,500 Value Indicator

¥27,000-¥40,000 Value Indicator

3,500-5,000 Value Indicator

$28,000-$40,000 Value Indicator

¥560,000-¥830,000 Value Indicator

$3,650-$5,500 Value Indicator

-6% 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: Digital Print

Edition size: 500

Year: 2014

Size: H 50cm x W 40cm

Signed: No

Format: Unsigned Print

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Track auction value trend

The value of Gerhard Richter’s Bagdad (P9) is estimated to be worth between £2,900 and £4,300. This unsigned digital print, created in 2014, has shown consistent value growth, with an average annual growth rate of 3%. This work has an auction history of 26 total sales since its entry to the market in June 2015. In the last 12 months, the artwork has sold 3 times, with an average selling price of £3,521. Over the past five years, the hammer price has varied from £2,500 in December 2024 to £5,704 in June 2020. The average return to the seller is currently £3,123. 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
December 2024Bonhams New Bond Street United Kingdom
June 2024Van Ham Fine Art Auctions Germany
January 2024Van Ham Fine Art Auctions Germany
September 2023Phillips London United Kingdom
June 2023Lempertz, Cologne Germany
February 2023Phillips New York United States
June 2022Lempertz, Cologne Germany

Meaning & Analysis

Wholly dissimilar from works in the Cage Prints, Cage f.ff and Cage Grid series, Bagdad (P9) is an altogether more fluid affair. A vibrant, pulsating assemblage of bright, ‘classic’ colour, the work comprises a complex interplay between varying hues of blue, red, yellow, and green. The product of chemical and creative alchemy, the work contrasts with others in the Flow series, such as Flow (P7) and Flow (P4), for its use of all primary and secondary colours. As such, it has more in common with another work referencing the city of Baghdad, Bagdad (P10).

Oil paints were pioneered by Dutch artists during the 13th century. Mixing natural pigments with linseed oil, the likes of Jan van Eyck found that paint became more malleable. Importantly, it also stayed wet for longer, an attribute that allowed it to be worked and re-worked for several days after its first application. Always in dialogue with art historical tradition, here Richter is seen to take the creative boundaries afforded by oil paint and stretch them much further than first thought. Creating an image reminiscent of 19th-century ink marbling, paint is allowed to flow freely across the page and interact with other, often clashing colours. The independence of colour in this work accords Richter’s print a certain dynamism that is inimitable with the human hand - or indeed the large-scale, home-made ‘squeegee’.

  • 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.

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