Gerhard Richter - 24/7: Online Auction Hong Kong Tuesday, July 20, 2021 | Phillips

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  • “I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably. And by not planning the outcome, I hope to achieve the same coherence and objectivity that a random slice of nature (or a readymade) always possesses. Of course, this is also a method of bringing in unconscious processes, as far as possible. I just want to get something more interesting out of it than those things that I can think out for myself.”—— Gerhard Richter 

    Gerhard Richter’s seminal Cage paintings are named after American minimalist and experimental composer John Cage, whom Richter greatly admired and whose music heavily influenced the making of the original canvas paintings in 2006. In the 1960s, Cage performed a piece at the Dusseldorf Academy (where Richter was also studying), where he wrote with a pen that was attached to a microphone, generating a scratching sound when the pen moved across the paper. In an interview with curator Hans Ulrich Obrist in 2006, Richter discussed the influence of John Cage’s concepts of chance and coincidence in abstract painting and in his own work: “Despite all my technical experience, I cannot always exactly foresee what will happen when I apply or remove large amounts of paint with the scraper. Surprises emerge, disappointing ones, pleasant ones, which in any case represent changes to the painting – changes that I have to process first in my mind before I can continue” i.


    i Gerhard Richter, quoted in Gerhard Richter, Dietmar Elger, Hans Ulrich Obrist, eds., Text: Writings, Interviews and Letters 1961–2007, London, 2009, p. 531

    • Provenance

      HENI Editions, London
      Acquired from the above by the present owner

    • Artist Biography

      Gerhard Richter

      German • 1932

      Powerhouse painter 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 skates between unorthodoxy and realism, much to the delight of institutions and the market alike. 

      Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, 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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Cage (P19-5)

numbered '186/200' with the publisher's stamp on the reverse
chromogenic print, flush mounted to aluminium with metal strainer on the reverse (as issued)
100 x 100 cm. (39 3/8 x 39 3/8 in.)
Published by HENI Editions, London in 2020, this work is number 186 from an edition of 200.

Full Cataloguing

HK$80,000 - 100,000 

Sold for HK$176,400

Contact Specialist

Hin Hin Wong
Associate Specialist, 20th Century & Contemporary Art, Hong Kong
+852 2318 2013
[email protected]

24/7: Online Auction

Online Auction 21 - 30 July 2021