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Cage f.ff I - Signed Print by Gerhard Richter 2015 - MyArtBroker

Cage f.ff I
Signed Print

Gerhard Richter

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90 x 90cm, Edition of 30, Lithograph

Medium: Lithograph
Edition size: 30
Year: 2015
Size: H 90cm x W 90cm
Signed: Yes
Format: Signed Print
Last Auction: November 2015
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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
November 2015
Van Ham Fine Art Auctions
Germany
$60,000
$70,000
$100,000
MyPortfolio
Auction Table Image
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The value of Gerhard Richter's Cage f.ff I (signed) is estimated to be worth between £35,000 and £50,000. This lithograph print, created in 2015, is a rare artwork with an auction history of one sale on 26th November 2015. There have been no sales in the last 12 months and the hammer price ranges from the last five years are currently unavailable. The edition size of this artwork is limited to 30.

Created with Highcharts 11.4.8Nov 2015$97,070© MyArtBroker

Meaning & Analysis

Cage f.ff I is a standout example of Richter’s signature approach to Abstraction. A theme the artist began working with during the 1970s, after a string of photorealist, historical paintings, on the one hand, and a number of landscape-based ‘photo paintings’, on the other, abstraction has come to be a defining feature of Richter’s stylistically and methodologically heterogenous œuvre. In this work, we see the vibrant, visceral byproduct of a looser, experimental method that makes use of large, home-made ‘squeegees’. To the left of the image, green hues yield seamlessly to those of the sea; at one moment rust coloured, at others the deep turquoise of Ancient Egyptian burial chambers, covered head-to-toe in lapis lazuli.

Despite its decidedly abstract, non-representational credentials, this work is testament nonetheless to the enduring influence of photography on Richter’s unique, eminently diverse body of artworks. The The Family Of Man exhibition, organised by Edward Steichen of New York’s Museum of Modern Art (MoMA), instituted a dramatic shift in the mindset of a young Richter when it visited West Berlin during the 1950s. In this work, the visual ‘power’ of photography is distilled into a process of stripping back layers of colour -  a process which produces a dramatic effect.