Halfmannshof
Halfmannshof
Signed Print
Gerhard Richter
£4,450-£6,500
$8,500-$12,000 Value Indicator
$7,500-$11,000 Value Indicator
¥40,000-¥60,000 Value Indicator
€5,000-€7,500 Value Indicator
$45,000-$60,000 Value Indicator
¥750,000-¥1,090,000 Value Indicator
$5,500-$8,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 150
Year: 1968
Size: H 29cm x W 42cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2021 | Lempertz, Cologne - Germany | Halfmannshof - Signed Print | |||
| June 2020 | Lempertz, Cologne - Germany | Halfmannshof - Signed Print | |||
| April 2017 | Van Ham Fine Art Auctions - Germany | Halfmannshof - Signed Print | |||
| June 2015 | Karl & Faber - Germany | Halfmannshof - Signed Print | |||
| June 2012 | Swann Auction Galleries - United States | Halfmannshof - Signed Print |
Meaning & Analysis
Halfmannshof is a signed, offset lithograph by internationally renowned German painter, Gerhard Richter. Released in an edition of 150, the artwork attests to Richter’s longstanding concern with the relationship between art, memory, and time.
Rendered in monochrome, Halfmannshof confronts the viewer with a blurred picture of two dimly visible houses. The titular Halfmannshof refers to a farm in Essen, Germany. Based on a photograph taken from a moving train by Richter, the artwork does not depict the place named in the title. The tension between the title and the representation captures the artist’s grappling with the impossibility of fully restoring the memory of people and places. The artist teases the viewer to approach the photographic image as a testimony to physical space and personal experience. Ultimately, the picture does not betray anything specific or personal about the depicted space. Instead, it strikes us with a sense of oblivion and anonymity.
The problem of memory has been key to Richter’s works, including the Atlas series, his ongoing collection of photographs and newspaper clippings, and October 18, 1977, a series of paintings commemorating the members of a German left-wing terrorist group. Created in 1968, Halfmannshof anticipates the key motifs and concerns of Richter’s most famous works.