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  • Provenance

    Private Collection
    New York, Christie's, 13 September, 2006 (lot 93)
    Private Collection
    Artnet Auctions, 15 November, 2018
    Acquired at the above sale by the present owner

  • Literature

    Klaus Kertess, Photography Transformed. The Metropolitan Bank and Trust Collection, 2002, p. 175 (another example illustrated)
    Hubertus Butin, Gerhard Richter: Editions. 1965-2004, Ostfildern, 2004, p. 246 (another example illustrated)
    Hubertus Butin, Stefan Gronert and Thomas Olbricht, eds., Gerhard Richter. Editions 1965-2013, Ostfildern, 2014, p. 268 (another example illustrated)

  • Artist Biography

    Gerhard Richter

    German • 1932

    One of the most influential living painters, Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter’s oeuvre oscillates between unorthodoxy and realism, much to the delight of institutions and the market alike.  

    From his career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in rapid intervals. Many of Richter's paintings find themselves in the permanent collections of the world's most revered museums. London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic "Rambert Event" hosted by Phillips Berkeley Square in 2016. 

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Domecke I (Cathedral Corner I)

signed, dated and numbered '1998 14/60' on the reverse
Cibachrome photograph between Plexiglas plates
78 x 55 cm (30 3/4 x 21 5/8 in.)
Executed in 1998, this work is number 14 from an edition of 60 plus 6 artist's proofs.

Contact Specialist

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Phillips X Presents: Gerhard Richter

Hong Kong Virtual Selling Exhibition 16 July – 16 August 2020