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Hotel Diana - Signed Print by Gerhard Richter 1967 - MyArtBroker

Hotel Diana
Signed Print

Gerhard Richter

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30 x 40cm, Edition of 80, Screenprint

Medium: Screenprint
Edition size: 80
Year: 1967
Size: H 30cm x W 40cm
Signed: Yes
Format: Signed Print
Last Auction: February 2025
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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
February 2025
Christie's New York
United States
$2,050
$2,400
$3,000
June 2010
Swann Galleries
United States
MyPortfolio
Auction Table Image
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Track auction value trend

The value of Gerhard Richter’s Hotel Diana (signed) is estimated to be worth between £2,000 and £3,000. This screenprint, created in 1967, has shown consistent value growth, with an average annual growth rate of 5%. This work has an auction history of two sales since its entry to the market in June 2010. In the last 12 months, the average selling price was £1,891, with a total sales volume of 1. Over the past five years, the average return to the seller has been £1,607. This artwork is part of a limited edition of 80.

Created with Highcharts 11.4.8Jun 2010Nov 2012May 2015Oct 2017Mar 2020Sep 2022Feb 2025$1,750$2,000$2,250$2,500$2,750$3,000© MyArtBroker

Meaning & Analysis

The photographic image captures two people lying in beds, their subtle smiles indicating the awareness of the camera’s presence. Giving a glimpse into the private reality of the artist, the scene strikes with a sense of intimacy and candour. Although his artistic identity originates in abstract painting, Richter is also renowned for his experimental, genre-defying approach to photography. In the late 1960s, the artist started to base his paintings on his own photographs.

Created in 1967, Hotel Diana shows how photography as a medium allows the artist to move in the direction of the mundane subject matter and engage with the questions of memory and time. As such, the artwork captures the diverse and constantly evolving nature of Richter’s oeuvre. 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”.