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Hood - Signed Print by Gerhard Richter 1996 - MyArtBroker

Hood
Signed Print

Gerhard Richter

£1,550-£2,350Value Indicator

$3,200-$4,900 Value Indicator

$2,850-$4,350 Value Indicator

¥15,000-¥23,000 Value Indicator

€1,800-€2,750 Value Indicator

$16,000-$24,000 Value Indicator

¥290,000-¥440,000 Value Indicator

$2,050-$3,100 Value Indicator

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44 x 44cm, Edition of 60, Lithograph

Medium: Lithograph

Edition size: 60

Year: 1996

Size: H 44cm x W 44cm

Signed: Yes

Format: Signed Print

Last Auction: October 2024

Value Trend:

-8% 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
October 2024
Bonhams Los Angeles
United States
$1,700
$2,000
$2,550
September 2024
Sotheby's New York
United States
June 2024
Phillips London
United Kingdom
April 2024
Phillips New York
United States
November 2023
Sotheby's Paris
France
November 2023
Van Ham Fine Art Auctions
Germany
February 2023
Ketterer Kunst Hamburg
Germany
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Track auction value trend

The value of Gerhard Richter's Hood (signed) is estimated to be worth between £1,550 and £2,350. This lithograph print, created in 1996, has shown consistent value growth since its first sale in November 2006. Over the past 12 months, the average selling price was £1,753, across a total of 2 sales. In the last five years, the hammer price has varied from £1,506 in October 2024 to £11,772 in February 2023. This work has an auction history of 10 total sales. The edition size of this artwork is limited to 60.

Created with Highcharts 11.4.8Feb 2023May 2023Sep 2023Dec 2023Mar 2024Jul 2024Oct 2024$1,400$1,600$1,800$2,000$2,200$2,400$2,600© MyArtBroker

Meaning & Analysis

The practice of overpainting has been key to Gerhard Richter’s works ever since he started to experiment with the medium of photography. In such artworks as Firenze, Richter covers photographs with vibrant swirls of colours, applying the paint directly to the photographic surface. The artist commented in the context of his practice: “I do not pursue any particular intentions, system, or direction. I do not have a programme, a style, a course to follow. I have brought not being interested in specialist problems, working themes, in variations towards mystery. I shy away from all restrictions, I do not know what I want, I am inconsistent, indifferent, passive; I like things that are indeterminate and boundless, and I like persistent uncertainty”.