£13,000-£19,000
$26,000-$40,000 Value Indicator
$23,000-$35,000 Value Indicator
¥120,000-¥180,000 Value Indicator
€16,000-€23,000 Value Indicator
$130,000-$190,000 Value Indicator
¥2,530,000-¥3,690,000 Value Indicator
$17,000-$24,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Screenprint
Edition size: 90
Year: 1971
Size: H 61cm x W 86cm
Signed: Yes
Format: Signed Print
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Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
---|---|---|---|---|---|
Sotheby's London | United Kingdom | ||||
Sotheby's London | United Kingdom | ||||
December 2023 | Grisebach | Germany | |||
April 2023 | Christie's New York | United States | |||
December 2022 | Im Kinsky | Germany | |||
June 2019 | Karl & Faber | Germany | |||
May 2015 | Lempertz, Cologne | Germany |
9 Von 180 Farben (9 of 180 Colours) is the work of venerated German visual and conceptual artist, Gerhard Richter. Issued in a limited edition of 90, this signed screen print was created in 1971 and is part of the Colour Charts series - an ensemble of works produced by Richter during the same decade.
Another work in the Colour Charts series, 1260 Farben (1260 Colours), is a bold, minimal print that references its creator’s interest in the creative possibilities afforded by colour and colour theory. Arranged in a 3 x 3 grid pattern, the print features 9 block colours; these range from primary tones on the left of the composition (blue, yellow, and red), through to secondary colours (grey, light purple, and green) in the centre, and tertiary colours (pink, black, and brown) to the right. Staging the process of creating different colours from red, yellow, and blue - the primary building blocks of millions of different tones - Richter deconstructs traditional artistic practices in order to both inspect - and elide - them.
Despite their compositional differences, 9 Von 180 Farben and Richter’s abstract, squeegee-based works such as Haggadah (P2) are linked by the artist’s unwavering attention to process. At the heart of both artworks is an emphasis on the ‘essence’ of painting; the accretive process of both works’ production, which sees Richter use bold, ‘classic’ colours as a base ‘layer’ before exploring secondary and tertiary tones and layers thereafter, is present in each, and representation is unimportant.