Los

645

Gerhard Richter13.11.85

In Contemporary Art - Part I and II

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Gerhard Richter13.11.85
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Gerhard Richter
13.11.85

Öl und Aquarell auf Papier. 29,5 x 41,8 cm. Unter Glas gerahmt. Signiert, datiert und betitelt '13.11.85 Richter'. - Mit Atelier- und geringfügigen Altersspuren.

Gerhard Richter Online-Werkverzeichnis 13.11.85

Provenienz
Evelyn Amis Gallery, Toronto (mit rückseitigem Aufkleber); Aschenbach Galerie, Amsterdam; Privatsammlung, Süddeutschland

Ausstellungen
Amsterdam 1987 (Museum Overholland), Gerhard Richter, Werken op papier 1983–1986, Ausst.Kat., S.63 mit Abb.

„Richters Zeichnungen und Aquarelle sind in Serien entstanden, oft in Abständen von mehreren Jahren, mit stets wechselnden Themen. Aus den sechziger Jahren sind einige figurative Zeichnungen bekannt, 1977 malte er seine ersten Aquarelle. Ein Jahr später entstand während eines Aufenthaltes in Halifax eine Folge abstrakter Bleistiftzeichnungen und 1985 überraschte er wiederum mit einer Serie außerordentlicher Aquarelle. Diese Ausstellung mit bisher nie gezeigten Bleistiftzeichnungen, Aquarellen und Ölen auf Papier zeigt eine neue Phase seiner großen Schaffenskraft, wobei der Nachdruck auf der Periode von 1983 bis heute liegt. Während eines Atelierbesuchs anlässlich der Ausstellungsvorbereitung sprach Gerhard Richter von seinen Tagebüchern. Da sich schon viele Kunstkritiker mit dem schwierig einzuordnenden Werk Richters auseinandergesetzt haben, schien es ein guter Gedanke, den Künstler nun selbst zu Wort kommen zu lassen, mit einer Auswahl seiner Tagebuchnotizen. Oft sind das sehr persönliche Eintragungen und schon aus diesem Grunde bin ich ihm dankbar für die Bereitschaft, diese bei und zu dieser Gelegenheit an die Öffentlichkeit kommen zu lassen. Die Notizen entstanden meist nachts; nicht als Statements, sondern als unmittelbare Niederschriften einer bestimmten Stimmung und insofern vergleichbar mit den Arbeiten auf Papier, die auch mehr von dieser privaten Spontanität haben als die Gemälde.“
(Christiaan Braun, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, München 1987, Ausst.Kat. S.3)

13.11.85 ‚Ich habe nichts zu sagen und das sage ich', egal wie und in welchem Zusammenhang Cage das jemals gemeint hat, - genauso oft wie ich darunter leide, genauso oft bin ich davon überzeugt, dass ich damit das Richtige, das einzig Natürliche tue. Und die sogenannten Anderen sind entweder falsch, indem sie behaupten oder genauso richtig, indem ich deren Arbeiten mit Behauptungen verwechselte. Die Bilder sagen also überall, trotz aller Ideologie, nichts und sind immer nur Bemühungen, an die Wahrheit (?) heranzukommen. Ich müsste das eigentlich genauer formulieren. Wenn ich sogar mit Freude feststelle, das einzig Natürliche zu tun, dann -
ich weiß nichts, ich kann nichts, ich verstehe nichts, ich weiß nichts. Nichts.
Und dieses Elend macht mich nicht einmal besonders unglücklich.“
(Gerhard. Richter, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, München 1987, Ausst.Kat. S.9-10)



Gerhard Richter
13.11.85

Oil and watercolour on paper. 29.5 x 41.8 cm. Framed under glass. Signed, dated, and titled '13.11.85 Richter'. - Traces of studio and minor traces of age.

Gerhard Richter online catalogue raisonné 13.11.85

Provenance
Evelyn Amis Gallery, Toronto (label verso); Aschenbach Galerie, Amsterdam; private collection, South Germany

Exhibitions
Amsterdam 1987 (Museum Overholland), Gerhard Richter, Werken op papier 1983–1986, exhib.cat., p.63 with illus.

'Richter's drawings and watercolours were created in a series, often over a period of several years, with constantly changing themes. Several figurative drawings from the sixties are known; in 1977, he painted his first watercolours. A year later, a series of abstract pencil drawings were created during his stay in Halifax, and in 1985, he surprised his public again with a series of extraordinary watercolours. This exhibition with never before shown pencil drawings, watercolours, and oil paintings on paper demonstrates a new phase of his enormous creative energy, whereby the emphasis lies in the period from 1983 until today. During his studio visit on the occasion of the exhibition preparations, Gerhard Richter spoke of his diaries. Since many art critics have already dealt with Richter's work, which is difficult to classify, it seemed a good idea to let the artist speak for himself now, with a selection of his diary notes. Often these are very personal entries and for this reason alone I am grateful to him for the willingness to make them public on this occasion. The notes were mostly taken at night; not as statements, but as direct transcriptions of a certain mood and thus comparable to the works on paper, which also have more of this private spontaneity than the paintings.'
(Christiaan Braun, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, Munich 1987, exhib.cat. p.3)

13.11.85 '”I have nothing to say and I say just that” no matter how and in what context Cage ever meant it - just as often as I suffer from it, just as often I am convinced that I am doing the right thing, the only natural thing. And the so-called others are either wrong by asserting or just as well by confusing their works with allegations. So the pictures never say anything anywhere, despite all ideology, and are always only efforts to get at the truth. I should be more specific. Even if I realise with joy that I'm doing the only natural thing, then -
I don't know anything, I can't do anything, I don't understand anything, I don't know anything. Nothing.
And this misery doesn't even make me particularly unhappy.'
(Gerhard. Richter, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, Munich 1987, exhib.cat. pp.9-10)


- - -

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme


Gerhard Richter
13.11.85

Öl und Aquarell auf Papier. 29,5 x 41,8 cm. Unter Glas gerahmt. Signiert, datiert und betitelt '13.11.85 Richter'. - Mit Atelier- und geringfügigen Altersspuren.

Gerhard Richter Online-Werkverzeichnis 13.11.85

Provenienz
Evelyn Amis Gallery, Toronto (mit rückseitigem Aufkleber); Aschenbach Galerie, Amsterdam; Privatsammlung, Süddeutschland

Ausstellungen
Amsterdam 1987 (Museum Overholland), Gerhard Richter, Werken op papier 1983–1986, Ausst.Kat., S.63 mit Abb.

„Richters Zeichnungen und Aquarelle sind in Serien entstanden, oft in Abständen von mehreren Jahren, mit stets wechselnden Themen. Aus den sechziger Jahren sind einige figurative Zeichnungen bekannt, 1977 malte er seine ersten Aquarelle. Ein Jahr später entstand während eines Aufenthaltes in Halifax eine Folge abstrakter Bleistiftzeichnungen und 1985 überraschte er wiederum mit einer Serie außerordentlicher Aquarelle. Diese Ausstellung mit bisher nie gezeigten Bleistiftzeichnungen, Aquarellen und Ölen auf Papier zeigt eine neue Phase seiner großen Schaffenskraft, wobei der Nachdruck auf der Periode von 1983 bis heute liegt. Während eines Atelierbesuchs anlässlich der Ausstellungsvorbereitung sprach Gerhard Richter von seinen Tagebüchern. Da sich schon viele Kunstkritiker mit dem schwierig einzuordnenden Werk Richters auseinandergesetzt haben, schien es ein guter Gedanke, den Künstler nun selbst zu Wort kommen zu lassen, mit einer Auswahl seiner Tagebuchnotizen. Oft sind das sehr persönliche Eintragungen und schon aus diesem Grunde bin ich ihm dankbar für die Bereitschaft, diese bei und zu dieser Gelegenheit an die Öffentlichkeit kommen zu lassen. Die Notizen entstanden meist nachts; nicht als Statements, sondern als unmittelbare Niederschriften einer bestimmten Stimmung und insofern vergleichbar mit den Arbeiten auf Papier, die auch mehr von dieser privaten Spontanität haben als die Gemälde.“
(Christiaan Braun, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, München 1987, Ausst.Kat. S.3)

13.11.85 ‚Ich habe nichts zu sagen und das sage ich', egal wie und in welchem Zusammenhang Cage das jemals gemeint hat, - genauso oft wie ich darunter leide, genauso oft bin ich davon überzeugt, dass ich damit das Richtige, das einzig Natürliche tue. Und die sogenannten Anderen sind entweder falsch, indem sie behaupten oder genauso richtig, indem ich deren Arbeiten mit Behauptungen verwechselte. Die Bilder sagen also überall, trotz aller Ideologie, nichts und sind immer nur Bemühungen, an die Wahrheit (?) heranzukommen. Ich müsste das eigentlich genauer formulieren. Wenn ich sogar mit Freude feststelle, das einzig Natürliche zu tun, dann -
ich weiß nichts, ich kann nichts, ich verstehe nichts, ich weiß nichts. Nichts.
Und dieses Elend macht mich nicht einmal besonders unglücklich.“
(Gerhard. Richter, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, München 1987, Ausst.Kat. S.9-10)



Gerhard Richter
13.11.85

Oil and watercolour on paper. 29.5 x 41.8 cm. Framed under glass. Signed, dated, and titled '13.11.85 Richter'. - Traces of studio and minor traces of age.

Gerhard Richter online catalogue raisonné 13.11.85

Provenance
Evelyn Amis Gallery, Toronto (label verso); Aschenbach Galerie, Amsterdam; private collection, South Germany

Exhibitions
Amsterdam 1987 (Museum Overholland), Gerhard Richter, Werken op papier 1983–1986, exhib.cat., p.63 with illus.

'Richter's drawings and watercolours were created in a series, often over a period of several years, with constantly changing themes. Several figurative drawings from the sixties are known; in 1977, he painted his first watercolours. A year later, a series of abstract pencil drawings were created during his stay in Halifax, and in 1985, he surprised his public again with a series of extraordinary watercolours. This exhibition with never before shown pencil drawings, watercolours, and oil paintings on paper demonstrates a new phase of his enormous creative energy, whereby the emphasis lies in the period from 1983 until today. During his studio visit on the occasion of the exhibition preparations, Gerhard Richter spoke of his diaries. Since many art critics have already dealt with Richter's work, which is difficult to classify, it seemed a good idea to let the artist speak for himself now, with a selection of his diary notes. Often these are very personal entries and for this reason alone I am grateful to him for the willingness to make them public on this occasion. The notes were mostly taken at night; not as statements, but as direct transcriptions of a certain mood and thus comparable to the works on paper, which also have more of this private spontaneity than the paintings.'
(Christiaan Braun, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, Munich 1987, exhib.cat. p.3)

13.11.85 '”I have nothing to say and I say just that” no matter how and in what context Cage ever meant it - just as often as I suffer from it, just as often I am convinced that I am doing the right thing, the only natural thing. And the so-called others are either wrong by asserting or just as well by confusing their works with allegations. So the pictures never say anything anywhere, despite all ideology, and are always only efforts to get at the truth. I should be more specific. Even if I realise with joy that I'm doing the only natural thing, then -
I don't know anything, I can't do anything, I don't understand anything, I don't know anything. Nothing.
And this misery doesn't even make me particularly unhappy.'
(Gerhard. Richter, in: Richter werken op papier 1983-1986, Notities 1982-1986, Museum Overholland Amsterdam, Munich 1987, exhib.cat. pp.9-10)


- - -

24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme

Contemporary Art - Part I and II

Auktionsdatum
Lose: 600 - 655
Lose: 660 - 815
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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