This is a reproduction of Tisch, originally, an oil on canvas by Gerhard Richter, painted in 1982 and part of the FRAC Bourgogne Collection in Dijon, France. This work belongs to Richter’s “Table” series, exploring themes of mechanical reproduction and perception. By depicting a seemingly mundane object with a blurred, abstract quality, Richter critiques the nature of representation and the impact of media on our understanding of reality. This piece exemplifies his engagement with both abstract and realistic elements during the early 1980s. Published by Achenbach Art Editions in 1991 with the approval of Gehard Richter.

This reproduction titled DG is derived from Gerhard Richter's original oil on canvas painted in 1985. Part of the Collection of Contemporary Art, this work was reproduced in 1991 in Germany, with colors meticulously highlighted to align with the artist's original intentions. DG belongs to Richter’s mid-career period, reflecting his exploration of abstract and representational styles. The piece exemplifies Richter’s engagement with color, form, and the interplay of abstraction and reality during this transformative phase of his career.

Published in 2003, as a gift for the employees of the Victoria-Versicherung Insurance company. This is an offset lithograph of “Victoria I” which has a facsimile signature, printed on heavy stock paper. Listed in catalogue raisonne Butin/Gronert P. 283.Printed by Achenbach Art Editions, Dusseldorf Germany. This piece was acquired directly from Achenbach, who were allowed to sell the prints that were not gifted.

In 1986, Richter won a commission from insurance company Victoria-Versicherung for two large paintings. Richter wanted to challenge himself not just in concept and design but also in execution, deciding to paint each piece on a single canvas measuring six meters high and four wide. Previously he had painted similarly sized pieces in sections and later admitted that the task was “a little megalomaniacal.” Richter named the paintings “Victoria I” and “Victoria II,” after the company, which commissioned them. These pieces continued his exploration of abstract painting, which characterized his work in the 1980s.

Published in 2003, as a gift for the employees of the Victoria-Versicherung Insurance company. This is an offset lithograph of “Victoria II” printed on heavy stock paper. Listed in catalogue raisonne Butin/Gronert P. 283. Printed by Achenbach Art Editions, Dusseldorf Germany. This piece was acquired directly from the publisher, who were allowed to sell the prints that were not gifted, without the printed signature.

In 1986, Richter won a commission from insurance company Victoria-Versicherung for two large paintings. Richter wanted to challenge himself not just in concept and design but also in execution, deciding to paint each piece on a single canvas measuring six meters high and four wide. Previously he had painted similarly sized pieces in sections and later admitted that the task was “a little megalomaniacal.” Richter named the paintings “Victoria I” and “Victoria II,” after the company, which commissioned them. These pieces continued his exploration of abstract painting, which characterized his work in the 1980s.

This reproduction of Seascape by Gerhard Richter, published by Achenbach Art Editions in 1991, captures the essence of Richter's abstract approach to representing natural phenomena. Originally painted in 1969, Seascape reflects Richter’s interest in the interplay between abstraction and reality. The blurred, almost photographic quality of the seascape challenges traditional perceptions of nature, emphasizing the fluidity and transience of both the sea and human experience.

As a collectible, Richter's posters are highly valued due to his significant influence on contemporary art. They often appreciate in value, with their rarity and the artist's esteemed reputation contributing to their status as desirable items for collectors.

This rare poster is a mechanical reproduction of "Merlin," an oil on canvas painted by Gerhard Richter in 1982, part of the FRAC Bourgogne Collection in Dijon, France. Published by Achenbach Art Editions, the poster captures Richter's masterful blend of abstraction and representation, characterized by dynamic forms and rich textures. This high-quality reproduction reflects the original's depth and complexity, making Richter's innovative work accessible to a broader audience. As a piece associated with the esteemed FRAC Bourgogne Collection, it holds significant cultural and artistic value.

The reproduction of Alfa Romeo by Gerhard Richter depicts a high-speed Alfa Romeo car with accompanying text that resembles a sales pitch. This work was created in 1967 and is part of Richter's early exploration of photorealism and his interest in the interplay between advertising and art.
In Alfa Romeo, Richter uses the image of the car and the promotional text to explore themes of consumer culture and the impact of media on perception. By blurring the lines between art and advertising, Richter critiques the way commercial imagery influences our understanding of objects and their value. The work reflects his interest in the media's role in shaping public consciousness, a recurring theme in his oeuvre.
As with many of Richter’s works, reproductions of Alfa Romeo are valued for their historical significance and connection to the artist's early exploration of photorealism. Richter’s pieces, particularly those that engage with themes of media and consumerism, are sought after by collectors due to his influential role in contemporary art.

This reproduction poster of Gerhard Richter's Skull with Candle was published for the Israel Museum's Fall 1995 exhibition, celebrating the work of the stylistically versatile German artist. Originally created in 1983, Skull with Candle is a striking example of Richter's ability to blend photorealism with symbolic imagery, creating a piece that is both haunting and thought-provoking.
The contrast between the life-like representation of the skull and the ephemeral nature of the candle's light evokes themes of mortality and the passage of time.
Despite signs of age or handling, the poster remains in very good condition, preserving the integrity and impact of the image.

This reproduction of Seascape by Gerhard Richter, published by Achenbach Art Editions in 1991, captures a serene maritime scene characterized by Richter's signature blurred effect. The painting, originally created in 1969, reflects his exploration of abstract representation through the lens of photorealism. By employing a technique that distorts the clarity of the seascape, Richter invites viewers to engage with the painting's atmospheric qualities and interpret its emotional resonance beyond mere visual accuracy.
Original posters by Gerhard Richter are highly valued due to his significant contributions to contemporary art, including his innovative use of abstract and photorealistic techniques. Richter's posters, often produced in limited editions, are prized for their rarity and the way they capture pivotal moments in his career. High-quality reproductions, especially those sanctioned by the artist or their estate, enhance their desirability.

"IBM G.EL.2, 18.1.1984" is an offset print created by renowned German artist Gerhard Richter. Based on a watercolor completed on January 18, 1984, this piece is notable for its vibrant use of yellow, red, blue, and black. Published in 1987, the edition includes 75 copies signed and numbered in pencil, 20 artist’s proofs marked with Roman numerals and "e.a." (épreuve d'artiste), and 12 unmarked impressions.

This particular piece is one of the 12 unmarked impressions, lacking the graphite markings, signatures, and numbering present in the other editions. This version allows viewers to focus solely on the visual composition without distractions, showcasing Richter's mastery in blending color and form.

The title "IBM G.EL.2, 18.1.1984" and the artwork’s creation date reflect Richter's systematic approach to titling, often using catalog-like labels to maintain objectivity and avoid influencing viewers' interpretations. The use of IBM in the title may hint at themes of technology and modernity, underscoring the artist’s engagement with contemporary issues.

This exhibition poster for "Image after Image" at the Louisiana Museum of Modern Art, held from February 4 to May 29, 2005, was originally printed by Verlag der Buchhandlung Walter König. The Louisiana Museum reprinted it in 2013, preserving the essence of the original while celebrating the exhibition's impact on contemporary art. This poster is a collectible piece that commemorates a significant event in the museum's history, highlighting the fusion of artistic innovation and cultural dialogue showcased in the "Image after Image" exhibition.

This reproduction poster of Gerhard Richter's Lovers in the Forest was published for the Israel Museum's Fall 1995 exhibition, showcasing the stylistically versatile German artist's work. Originally painted in 1966, Lovers in the Forest exemplifies Richter's ability to blend photorealism with abstraction, creating a captivating and multifaceted piece.
Lovers in the Forest features a serene and intimate scene of two figures in a forest setting, rendered with Richter's characteristic blend of realism and subtle abstraction. The painting captures the delicate interplay of light and shadow among the trees, highlighting the natural beauty of the forest and the tender moment shared by the lovers.

This reproduction of Abstrakte Bilder (No Text) by Gerhard Richter, a key work from the artist's acclaimed "Abstract Paintings" series, captures the essence of Richter's approach to abstraction. Originally painted in 1986, this specific poster was released as a publisher's proof, distinguishing it with its omission of text that typically accompanies the final editions. The work showcases Richter's innovative exploration of color, texture, and form, employing a technique that emphasizes the dynamic interplay of layers and the expressive potential of abstract art.

This original museum poster titled Two Candles was created for the Fast Forward exhibition at the Dallas Art Museum in 1995. The artwork featured on the poster is Two Candles, which was originally painted by Richter in 1982.
Two Candles is part of Richter's Still Life series, where he explores themes of simplicity and symbolism. The painting depicts a pair of lit candles, rendered with Richter’s signature blurred technique, which imbues the scene with a sense of ethereal calmness and introspection. This work reflects Richter’s exploration of perception and the transient nature of light and life. By presenting these everyday objects with a blurred, almost ghostly quality, Richter invites viewers to contemplate the fleeting and often overlooked aspects of ordinary life.

This original museum poster titled City Pictures was created for Gerhard Richter's retrospective at the Dallas Art Museum in 2002. The artwork depicted on the poster is from Richter's City Pictures series, originally painted in 1968. This series features a blend of photorealistic and abstract elements, capturing urban landscapes with a sense of movement and dynamism.
The City Pictures series reflects Richter’s interest in exploring the intersection of reality and abstraction. By using blurred, fragmented imagery, Richter critiques the nature of representation in modern media and examines the fleeting, often disorienting experience of urban life. His work challenges the viewer's perception of reality and suggests a deeper contemplation of how we interpret and engage with the world around us.

This original exhibition poster titled Wald was created for Gerhard Richter's retrospective at the Beyeler Foundation in Basel, Switzerland, running from May to July 2014. The poster features one of Richter’s evocative "Forest" series paintings, capturing the artist's exploration of nature through a lens of abstraction and photorealism. The piece illustrates Richter's ability to transform everyday scenes into profound visual experiences, blending layers of color and texture to evoke a sense of depth and atmosphere. This poster not only commemorates a significant exhibition but also reflects Richter's continued impact on contemporary art through his innovative approach to both abstraction and realism.