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FAZ-Übermalung (FAZ Overpainted) - Signed Print by Gerhard Richter 2002 - MyArtBroker

FAZ-Übermalung (FAZ Overpainted)
Signed Print

Gerhard Richter

£50,000-£80,000Value Indicator

$100,000-$170,000 Value Indicator

$90,000-$150,000 Value Indicator

¥480,000-¥770,000 Value Indicator

60,000-90,000 Value Indicator

$530,000-$850,000 Value Indicator

¥9,940,000-¥15,900,000 Value Indicator

$70,000-$110,000 Value Indicator

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39 x 55cm, Edition of 32, Lithograph

Medium: Lithograph
Edition size: 32
Year: 2002
Size: H 39cm x W 55cm
Signed: Yes
Format: Signed Print
Last Auction: December 2022
Value Trend:
-6% 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
December 2022
Ketterer Kunst Hamburg
Germany
$70,000
$90,000
$110,000
January 2017
Lempertz, Cologne
Germany
May 2016
Bonhams New York
United States
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Track auction value trend

The value of Gerhard Richter's FAZ-Übermalung (FAZ Overpainted) (signed) is estimated to be worth between £50,000 and £80,000. This lithograph print, created in 2002, has shown consistent value growth since its first sale in May 2016. Over the past five years, the hammer price has varied, with an average annual growth rate of -6%. This work is part of a limited edition of 32 and is a rare addition to any art collection.

Created with Highcharts 11.4.8May 2016Jun 2017Jul 2018Aug 2019Oct 2020Nov 2021Dec 2022$60,000$70,000$80,000$90,000$100,000$110,000© MyArtBroker

Meaning & Analysis

Ever since Richter started to experiment with the medium of photography, the practice of overpainting has been key to his works. In such artworks as Firenze and Kassel, the artist covers photographs with vibrant swirls of colours, applying the paint directly to the photographic surface. In FAZ-Übermalung, instead of a photograph, it is a page of an old newspaper that has been covered with richly coloured layers of paint.

The newspaper article is only dimly visible as the blotches of grey paint sprawl across almost the entire surface of the print. Layers of orange and red paint appear underneath the dominant grey surface, bearing traces of linear strokes that remind one of Richter’s signature squeegee technique. A curious quality of the amalgamation of colours is the difference in the texture and intensity of each layer of paint. Richter’s interest here lies in the materiality and physical experience of the artwork. The artist commented in the context of overpainting: “Painting always has reality: you can touch the paint; it has presence; but it always yields a picture”.

  • 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.