Gerhard Richter, ‘Kugelobjekt (Spherical Object I)’, 1970, Sotheby's: Contemporary Art Day Auction

Guaranteed Property (see Conditions of Sale for further information)

Signature: signed, dated 70 and numbered 27/30 on the reverse

Essen, Museum Folkwang, Gerhard Richter. Graphik 1965-1970, October 1970, pp. 3 and 29, illustrated (another example exhibited)
Berlin, Kunstbibliothek, Multiples – Ein Versuch die Entwicklung des Auflagenobjektes darzustellen, May - June 1974, p. 178, illustrated in color (another example exhibited)
Hamburg, Clubheim der Deutschen BP, Gerhard Richter. Das grafische Werk, March - April 1976 (another example exhibited)
Düsseldorf, Städtische Kunsthalle, Gerhard Richter. Bilder 1962-1985, 1986 (another example exhibited)
Kunsthalle Bremen, Gerhard Richter: Editionen 1965-1993, October - November 1993, no. 22a, p. 90 (another example exhibited)
London, Anthony d’Offay Gallery, Gerhard Richter: The Complete Editions, September - November 1999 (another example exhibited
Dallas Museum of Art, Gerhard Richter in Dallas Collections, February - April 2000, p. 3 (another example exhibited)
Essen, Museum Folkwang, Moving Energies #3: Aspekte der Sammlung Olbricht, January - April 2004 (another example exhibited)
Kunstmuseum Bonn; Kunstmuseum Luzern; Kunsthalle in Emden; Kunsthalle Tübingen; Salzburg, Museum der Moderne,Gerhard Richter. Printed, June 2004 - October 2005
Tampere, Sara Hildén Art Museum, Gerhard Richter. Katsaus, September - October 2005 (another example exhibited)
Berlin, Edition Block, Multiplizieren ist menschlich. 45 Jahre Edition Block 1966-2011, September - November 2011 (another example exhibited)
Turin, Fondazione Sandretto Re Rebaudengo, Gerhard Richter: Edizioni 1965-2012 dalla Collezione Olbricht, January - April 2013 (another example exhibited)
Düsseldorf, Sies + Höke, Bare Wunder, March - May 2015 (another example exhibited)

Carl Vogel and Rene Block, Eds., Grafik des Kapitalistischen Realismus. KP Brehmer, Hoedicke, Lueg, Polke, Richter, Vostell, Wekverzeichnisse bis 1971, Berlin 1971, p. 154
Hubertus Butin, Stefan Gronert, Eds. Gerhard Richter. Editions 1965-2004, Ostfildern-Ruit 2004, no. 28, p. 161, illustrated in color
Ortrud Estheider and Michael Philipp, Gerhard Richter. Bilder einer Epoche, Munich 2011, p. 62
Hubertus Butin, Stefan Gronert, and Thomas Olbricht, Eds., Gerhard Richter. Editions 1965-2013, Ostfildern 2014, no. 28, p. 185, illustrated in color

Anthony d'Offay Gallery, London
Acquired from the above by the present owner circa 1990

About Gerhard Richter

Gerhard Richter is known for a prolific and stylistically varied exploration of the medium of painting, often incorporating and exploring the visual effects of photography. “I like everything that has no style: dictionaries, photographs, nature, myself and my paintings,” he says. “Because style is violent, and I am not violent.” In the early 1960s, Richter began to create large-scale photorealist copies of black-and-white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed “photographic impressionism”) in which portions of his compositions appear smeared or softened—paradoxically reproducing photographic effects and revealing his painterly hand. With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely between figuration and abstraction, producing geometric “Colour Charts”, bold, gestural abstractions, and “Photo Paintings” of anything from nudes, flowers, and cars to landscapes, architecture, and scenes from Nazi history. Richter absorbed a range of influences, from Caspar David Friedrich and Roy Lichtenstein to Art Informel and Fluxus.

German, b. 1932, Dresden, Germany, based in Cologne, Germany