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Gerhard Richter (b. 1932)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Gerhard Richter (b. 1932)

Abstraktes Bild

Details
Gerhard Richter (b. 1932)
Abstraktes Bild
signed, numbered and dated 'Richter 1986 611-3' (on the reverse)
oil on canvas
79 x 63in. (200.7 x 160cm.)
Painted in 1986
Provenance
Galerie Fred Jahn, Munich.
Cecile and Walter Bareiss Collection, Munich.
Galerie Fred Jahn, Munich.
Thomas Olbricht Collection, Essen.
Anon. sale, Christie's New York, 13 November 2002, lot 67.
James Cohan Gallery, New York.
Literature
B. Buchloh (ed.), Gerhard Richter, Werkübersicht/Catalogue Raisonné 1962-1993, Osterfilden-Ruit, 1993, vol. III, no. 611-3, p. 180.
Special notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 5% is payable on hammer price and at 17.5% on the buyer's premium.
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Alice de Martigny
Alice de Martigny

Lot Essay

This work will be included in the forthcoming Gerhard Richter catalogue raisonné, edited by the Gerhard Richter Archiv Staatliche Kunstsammlungen Dresden.




'A picture like this is painted in different layers, separated by intervals of time. The first layer mostly represents the background, which has a photographic, illusionistic look to it, though done without using a photograph. This first, smooth, soft-edged paint surface is like a finished picture; but after a while I decide that I understand it or have seen enough of it, and in the next stage of painting I partly destroy it, partly add to it; and so it goes on at intervals, till there is nothing more to do and the picture is finished. By then it is a Something which I understand in the same way it confronts me, as both incomprehensible and self-sufficient. An attempt to jump over my own shadow...
'At that stage the whole thing looks very spontaneous. But in between there are usually long intervals of time, and those destroy a mood. It is a highly planned kind of spontaneity'
(Richter, 1984, quoted in H.-U. Obrist (ed.), Gerhard Richter: The Daily Practice of Painting. Writings and Interviews 1962-1993, London, 1995, p. 112).

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