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Aladin (P11) - Unsigned Print by Gerhard Richter 2014 - MyArtBroker

Aladin (P11)
Unsigned Print

Gerhard Richter

£1,800-£2,700Value Indicator

$3,700-$5,500 Value Indicator

$3,350-$5,000 Value Indicator

¥18,000-¥26,000 Value Indicator

€2,100-€3,150 Value Indicator

$19,000-$29,000 Value Indicator

¥360,000-¥540,000 Value Indicator

$2,450-$3,650 Value Indicator

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37 x 50cm, Edition of 500, Digital Print

Medium: Digital Print

Edition size: 500

Year: 2014

Size: H 37cm x W 50cm

Signed: No

Format: Unsigned Print

Last Auction: September 2024

Value Trend:

-11% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
September 2024
Phillips New York
United States
N/A
N/A
N/A
April 2024
Phillips Hong Kong
Hong Kong
January 2024
SBI Art Auction
Japan
January 2024
Phillips London
United Kingdom
February 2023
Phillips Hong Kong
Hong Kong
November 2021
Sotheby's Paris
France
November 2021
Christie's Paris
France
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The value of Gerhard Richter's Aladin (P11) (unsigned) is estimated to be worth between £1,800 and £2,700. Over the past five years, the hammer price has varied from £1,600 in January 2024 to £3,983 in January 2024. This digital print artwork, created in 2014, has shown a consistent number of sales, with an average annual growth rate of -11%. This work is part of a limited edition of 500.

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Meaning & Analysis

Dissimilar from works in Richter’s Colour Charts, Cage Prints, Cage f.ff and Cage Grid series, Aladdin (P11) is a digital print which sees Richter experiment with the creative possibilities of surface tension and painting. Where in his squeegee-based Cage paintings Richter might turn to the squeegee as a tool for applying and embellishing ‘classic’ tones of oil paint, here the artist sets his medium on the floor, diluting paints and allowing them to travel across its surface. Leaving the work open to error and serendipity alike, there is a deep sense of experimentation in its bright, dream-like composition.

As an art student of the 1950s, Richter is fiercely unusual. The recipient of an artistic training in socialist realist painting - an attribute unusual for an artist who moved to the ‘West’ in 1961 - Richter has nonetheless spent much of his career dealing with non-representation. Concerned chiefly with artistic process as opposed to likeness, Richter’s nature as a conceptual artist has led him to deal with a variety of intangible issues, ranging from memory to the divine. Always keen to disrupt tradition, Richter once confessed that his artistic practice has the ultimate goal of bringing about the ‘death’ of painting.