Cage Grid I Single Part A
Cage Grid I Single Part A
Signed Print
Gerhard Richter
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Giclée print
Edition size: 4
Year: 2011
Size: H 75cm x W 75cm
Signed: Yes
Format: Signed Print
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2019 | Phillips London - United Kingdom | Cage Grid I Single Part A - Signed Print | |||
| October 2014 | Christie's London - United Kingdom | Cage Grid I Single Part A - Signed Print |
Meaning & Analysis
Part of the Cage Grid series, Cage Grid I Single Part A is a signed giclée print by internationally regarded German visual artist, Gerhard Richter. Depicting a section of one of the artist’s 2006 Cage paintings, the print was issued in a very limited edition of 4 in 2011.
Together with Cage f.ff I, Cage f.ff II, Cage f.ff III, and Cage f.ff IV - works in the Cage f.ff series - this print is product of Richter’s alleged engagement with the music of avant-garde composer, John Cage, during the early part of the 2000s. A standout example of the artist’s signature approach to abstraction, a product of his highly regimented, prescriptive use of both ‘classic’ oil paints and large, home-made ‘squeegees’, the work is a dramatic assemblage of green and white paint. It is an abstract example of Richter’s longstanding fascination with ‘blurring’ - a technique he has also put to use in his photorealist paintings, such as the iconic Kerze (1988).
Portraying a detail from one of Richter’s 2006 Cage paintings, the print is resolutely non-representational. Demanding what famous curator and art critic Hans Ulrich Obrist describes as an ‘infinite process of looking’, it refers to an original work created during a period when Richter had been spending hours listening to Cage’s music, famed for its atonality and meditative qualities.
