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Cage Grid I Single Part E - Signed Print by Gerhard Richter 2011 - MyArtBroker

Cage Grid I Single Part E
Signed Print

Gerhard Richter

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75 x 75cm, Edition of 4, Giclée print

Medium: Giclée print

Edition size: 4

Year: 2011

Size: H 75cm x W 75cm

Signed: Yes

Format: Signed Print

Last Auction: February 2014

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
February 2014
Christie's London
United Kingdom
N/A
N/A
N/A
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The value of Gerhard Richter's Cage Grid I Single Part E (signed) is estimated to be worth between £80,000 and £120,000. This Giclée print, created in 2011, has an auction history of one sale on 14th February 2014. There have been no sales in the last 12 months or the last five years. This artwork is part of a limited edition of 4 and has an impressive average annual growth rate of 7%.

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Meaning & Analysis

Cage Grid I Single Part E allows the intricacies of Richter’s squeegee-based approach to come to the fore with both unrivalled dynamism and beguiling complexity. In amongst the sombre, reflective washes of monochrome and green are flashes of red and neon, incidental markers testament to the layer of brighter, bolder colour concealed below another freshly-applied layer of paint. Despite being far from photographic, the work maintains a close relationship to those semi-realist works of Richter’s that comprise representational elements and gestural, obscuring layers of paint. Examples of these include the haunting September (2009) and Kassel (1992).

A further example of Richter’s ‘blurring’ technique, Cage Grid I Single Part E sees the artist cede his representational sensibilities to those creative forces product of emotion and sensorial experience. Exploring the thinking behind his blur technique, Richter says: ‘I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.’ In this print, therefore, Richter channels little other than the visceral, atonal music of John Cage, which he had been listening to whilst creating his Cage series. Referential visual information is unimportant: it is feeling that counts.