Oil paint, applied with the fingers, on plastic paper. Signed, dated "8.9.71", numbered and inscribed "G 1031" on the reverse. 39.9 x 40 cm. . [KA]. - Unique character: Richter uses his fingers instead of a brush, giving the painting its unique appearance. - An especially early “Inpainting,” a key group in Richter's art of the early 1970s. - Richter experiments with gestural painting in his “Inpaintings.” - To mark the 20th anniversary of the Gerhard Richter Archive, the Dresden State Art Collections will open a major exhibition on the artist's work at the end of 2025. We are grateful to Mr Hubertus Butin for his kind expert advice. LITERATURE: Hubertus Butin, Gerhard Richter. Editionen 1965-2013, Cologne 2014, catalogue raisonné no. 45 (illustrated). - - (each a different copy): Benjamin H. D. Buchloh (ed.), Gerhard Richter, Centre Georges Pompidou, Museé national d'art moderne, Paris 1977, p. 49. Bruno Corà (ed.), Gerhard Richter, Museo Pecci, Prato 1999, pp. 18 and 31. Reinhard Spieler (ed.), Gerhard Richter, Ohne Farbe = Without Color, Ostfildern-Ruit/Burgdorf 2005, pp. 66-67 (illustrated) Karsten Thormaehlen (ed.), Love Kills. “Betting on the Muse.” Charles Bukowski (1920-1994), Mörfelden-Walldorf 2010, pp. 71 (illustrated) and 98. Lelia Packer (ed.), Monochrome: Painting in Black and White, London 2017, pp. 8 and 17. Thomas Olbricht (ed.), Gerhard Richter, Unikate in Serie, Cologne 2017, pp. 102-103 (illustrated) Philipp Bollmann (ed.), Leben in Bildern: Ein Porträt des Sehens, Cologne 2023, p. 53 (illustrated).
(Selection, each a different copy): Ulbricht Collection, Städtisches Kunstmuseum Bonn, Feb. 10-March 28, 1982; Neue Galerie am Landesmuseum Joanneum, Graz, October 16-Nov. 10, 1982; Kunstmuseum Düsseldorf, Sep. 4-Oct. 16, 1983. Gerhard Richter. Editions 1965-1993, Kunsthalle Bremen, Oct. 24-Nov. 21, 1993, cat. no. 37 (illustrated). Gerhard Richter in Dallas Collections, Dallas Museum of Art, Dallas, USA, Feb. 12-Apr. 16, 2000. Monet, Kandinsky, Rothko und die Folgen. Wege der abstrakten Malerei, Bank Austria Kunstforum, Vienna, Feb. 28-June 29, 2008. The Immediate Touch: German, Austrian, Swiss Drawings from St. Louis Collections, 1946-2007, Saint Louis Art Museum, St. Louis, USA, June 29-Sept. 7, 2008. Gerhard Richter. Retrospective, Albertina, Vienna, Jan. 30-May 3, 2009. Gerhard Richter. Editions 1965-2011, me Collectors Room, Berlin, Feb. 12-May 13, 2012. Gerhard Richter. Die Editionen, Folkwang Museum, Essen, April 7-July 30, 2017. From Düsseldorf to Dallas: Postwar German Art in the DMA Collection, Dallas Museum of Art, USA, Oct. 21, 2018-Jan. 27, 2019
Private collection Southern Germany
In good condition. The impasto paint has isolated, very tiny, superficial color losses, which do not impair the overall impression in any way, as well as isolated spots of craquelure. Mounting remains on reverse of the corners, minimally visible on the recto in the lower left corner.
Lot Details
Oil paint, applied with the fingers, on plastic paper. Signed, dated "8.9.71", numbered and inscribed "G 1031" on the reverse. 39.9 x 40 cm. . [KA]. - Unique character: Richter uses his fingers instead of a brush, giving the painting its unique appearance. - An especially early “Inpainting,” a key group in Richter's art of the early 1970s. - Richter experiments with gestural painting in his “Inpaintings.” - To mark the 20th anniversary of the Gerhard Richter Archive, the Dresden State Art Collections will open a major exhibition on the artist's work at the end of 2025. We are grateful to Mr Hubertus Butin for his kind expert advice. LITERATURE: Hubertus Butin, Gerhard Richter. Editionen 1965-2013, Cologne 2014, catalogue raisonné no. 45 (illustrated). - - (each a different copy): Benjamin H. D. Buchloh (ed.), Gerhard Richter, Centre Georges Pompidou, Museé national d'art moderne, Paris 1977, p. 49. Bruno Corà (ed.), Gerhard Richter, Museo Pecci, Prato 1999, pp. 18 and 31. Reinhard Spieler (ed.), Gerhard Richter, Ohne Farbe = Without Color, Ostfildern-Ruit/Burgdorf 2005, pp. 66-67 (illustrated) Karsten Thormaehlen (ed.), Love Kills. “Betting on the Muse.” Charles Bukowski (1920-1994), Mörfelden-Walldorf 2010, pp. 71 (illustrated) and 98. Lelia Packer (ed.), Monochrome: Painting in Black and White, London 2017, pp. 8 and 17. Thomas Olbricht (ed.), Gerhard Richter, Unikate in Serie, Cologne 2017, pp. 102-103 (illustrated) Philipp Bollmann (ed.), Leben in Bildern: Ein Porträt des Sehens, Cologne 2023, p. 53 (illustrated).
(Selection, each a different copy): Ulbricht Collection, Städtisches Kunstmuseum Bonn, Feb. 10-March 28, 1982; Neue Galerie am Landesmuseum Joanneum, Graz, October 16-Nov. 10, 1982; Kunstmuseum Düsseldorf, Sep. 4-Oct. 16, 1983. Gerhard Richter. Editions 1965-1993, Kunsthalle Bremen, Oct. 24-Nov. 21, 1993, cat. no. 37 (illustrated). Gerhard Richter in Dallas Collections, Dallas Museum of Art, Dallas, USA, Feb. 12-Apr. 16, 2000. Monet, Kandinsky, Rothko und die Folgen. Wege der abstrakten Malerei, Bank Austria Kunstforum, Vienna, Feb. 28-June 29, 2008. The Immediate Touch: German, Austrian, Swiss Drawings from St. Louis Collections, 1946-2007, Saint Louis Art Museum, St. Louis, USA, June 29-Sept. 7, 2008. Gerhard Richter. Retrospective, Albertina, Vienna, Jan. 30-May 3, 2009. Gerhard Richter. Editions 1965-2011, me Collectors Room, Berlin, Feb. 12-May 13, 2012. Gerhard Richter. Die Editionen, Folkwang Museum, Essen, April 7-July 30, 2017. From Düsseldorf to Dallas: Postwar German Art in the DMA Collection, Dallas Museum of Art, USA, Oct. 21, 2018-Jan. 27, 2019
Private collection Southern Germany
In good condition. The impasto paint has isolated, very tiny, superficial color losses, which do not impair the overall impression in any way, as well as isolated spots of craquelure. Mounting remains on reverse of the corners, minimally visible on the recto in the lower left corner.
Gerhard Richter 
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