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Bahnhof Hannover - Signed Print by Gerhard Richter 1967 - MyArtBroker

Bahnhof Hannover
Signed Print

Gerhard Richter

£4,250-£6,500Value Indicator

$9,000-$13,500 Value Indicator

$8,000-$12,000 Value Indicator

¥40,000-¥60,000 Value Indicator

4,900-7,500 Value Indicator

$45,000-$70,000 Value Indicator

¥840,000-¥1,290,000 Value Indicator

$5,500-$9,000 Value Indicator

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48 x 58cm, Edition of 170, Lithograph

Medium: Lithograph
Edition size: 170
Year: 1967
Size: H 48cm x W 58cm
Signed: Yes
Format: Signed Print
Last Auction: February 2025
Value Trend:
-4% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
February 2025
Grisebach
Germany
£3,236
£3,807
£5,026
February 2025
Van Ham Fine Art Auctions
Germany
September 2024
Sotheby's Edinburgh
United Kingdom
June 2022
Germann Auctions
Switzerland
July 2020
Phillips New York
United States
June 2020
Lempertz, Cologne
Germany
June 2018
Karl & Faber
Germany
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Track auction value trend

The value of Gerhard Richter's Bahnhof Hannover (signed) is estimated to be worth between £4,250 and £6,500. This lithograph print, created in 1967, has shown consistent value growth since its first sale in September 2002. Over the past 12 months, the average selling price was £4,079, across a total of 3 sales. In the last five years, the hammer price has varied from £3,807 in February 2025 to £4,239 in February 2025. The average annual growth rate of this work is currently at -4%. This work is part of a limited edition of 170.

Created with Highcharts 11.4.8Jun 2018Jul 2019Sep 2020Oct 2021Nov 2022Jan 2024Feb 2025£3,000£3,500£4,000£4,500£5,000© MyArtBroker

Meaning & Analysis

Bahnhof Hannover depicts its named subject matter: the main train station, or Hauptbahnhof, of the West German city of Hanover. Painted after a postcard, bought by Richter during his travels in his adoptive country of West Germany during the 1960s, the work is testament to the close relationship between the artist’s paintings and photography. Similar to the historical portraits Richter completed during this period, such as Elisabeth II (1966) and Mao (1968), the work is blurred; partially obscured as if to mimic the infallibility of human memory, blurring accords the work a sense of gravity and personal or historical importance. One particular copy of the work features a hand-written dedication in pencil: Herzliche Grüße aus Hannover! (Warmest wishes from Hanover!).

In this work, we see Richter explore the material and architectural reality of his new environment. Indexing his surroundings by visual means, the work is part of the personal and artistic enterprise that constitutes Richter’s Atlas: a large-scale assemblage of found images of art historical, historical, and personal significance that has formed the referential basis of many of Richter’s paintings. Just 6 years prior to the creation of this work, Richter made his life-changing escape from East Germany to West Germany. Moving to the affluent city of Düsseldorf, Richter revolted against his prior training in socialist realist art, which he had received at the strictly ideological Dresden Academy, later co-founding the ‘Capitalist Realist’ style with Sigmund Polke and Konrad Fisher.

  • 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.