Gerhard Richter’s artistic explorations, which stretch over more than six decades, constitute a radical attempt to integrate representation and abstraction. Best known for his painted copies of black and white photographs rendered with a blurred effect, Richter has broadened the potentials of both photography and painting.

Born 1932 in Dresden, Germany, Richter’s childhood was affected by the rise of the Nazi regime and the traumatic events of World War II. According to some of his critics, these painful memories, combined with a regimented life in East Germany under Soviet rule, discouraged him from conveying ideological expressions through art. Such unpretentious perspective materialises in his continued focus on colour combinations and on the tangible quality of his canvases. 

Richter began his studies at the Dresden Art Academy in 1951, but disliked their dogmatic emphasis on Social Realist art. In 1961, Richter fled to West Germany where he studied at the Kunstakademie Düsseldorf. In this liberated, experimental environment, Richter first produced his photopaintings. 
Richter admits Pop Art gave him the license to use photography in his photopaintings. Like Warhol, he saw in photography’s mechanical recording a way to build a machine-like aesthetic that denied artistic involvement. Sourcing photographs from family albums, newspapers and magazines, Richter was interested in the photograph’s status as reproduction, as one stage removed from reality. The photopaintings function like echoes of distant worlds. This dissociation from the subject was developed in his signature blur, created by running a dry brush through the wet paint. In the photopaintings of his family, these distancing effects resonate a sense of confusion of how to make sense of their difficult history. 

Richter advanced this dissociative language in his printmaking practice. From his early editions, such as ‘Dogs’ (1965), to the 2017 Giclée print of ‘Tulips’ (1995) the artist employs the medium as an extra layer of aesthetic distance, being based off a painted image. At the same time, the print completes the work’s cycle, which started with a photographic image that was abstracted in paint and ended with the painted image returned to its photographic state.

Alongside his photopaintings, Richter has developed new possibilities for abstract art which build on his aesthetic of non-involvement. The first abstract series ‘Colour Charts’ (1966) was based on paint charts found in hardware stores and reproduce their geometric grids of colour. Later geometric abstractions used a random computer-generated selection to arrange colours by chance. One of his most intricate, ‘4096 colours’ (1974) would inform the design of Richter’s monumental stained glass windows for the south transept of the Cathedral of Cologne (2007). 

Unwilling to stick to one genre, in his ‘Works Behind Glass’ (2008-10) Richter embraced a free form abstraction. In these, poured enamel paint is squelched flat between glass sheets. Recreated as print editions, the Diasec-mounted chromogenic print on aluminium brilliantly captures the harsh flattening effects of the glass; indeed, the flattening becomes more extreme in the print as the layers of physical paint are less distinguishable.  The spectator is invited to abandon themselves to the Dionysian swirls of paint. 

The diversity of Richter’s oeuvre is remarkable, but equally extraordinary is the consistency of his vision. Throughout his work, he promotes an art that denies artistic involvement. Through this, Richter lays bare a natural beauty: from his tender and diffuse early photopaintings to the vibrant exaltation of colour in his glass paintings. 

Gerhard Richter

Gerhard Richter’s artistic explorations, which stretch over more than six decades, constitute a radical attempt to integrate representation and abstraction. Known for his painted copies of black and white photographs rendered with a blurred effect, Richter has broadened the potentials of both photography and painting.  

‘Abstraktes Bild’ (P1, 2014) is based on Gerhard Richter’s eponymous painting from 1990. Produced through Richter’s signature use of a squeegee to distribute colour across the surface, this image is dominated by acid chromatic contrasts of reds, blues and yellows merging into each other. Rather than suggesting recognisable shapes or forms, the impasto is dispersed into layers of various thickness with an essence which remains impenetrable.  

Richter’s powerful yet meditative abstract paintings are the products of a life-long engagement with art history. These tactile, magnetic surfaces owe much to Abstract Expressionism, Minimalism and even Claude Monet’s Post-Impressionist studies of sunsets. Unlike these sources of inspirations, however, Richter chose to forego a personalised brushstroke, allowing the squeegee, a Perspex sheet fixed to a wooden handle, to scrape the canvas and create seemingly mechanical compositions.  

‘Abstraktes Bild’, with its fluid multi-coloured layers and specks of red paint, evocative yet stubbornly impervious to interpretation, seems to embody Richter’s philosophy according to which “to talk about painting is…perhaps pointless. You can only express in words what words are capable of expressing… and painting has nothing to do with that”. 

Abstraktes Bild

‘Abstraktes Bild’ (P1, 2014) is based on Gerhard Richter’s eponymous painting from 1990. Produced through Richter’s signature use of a squeegee to distribute colour across the surface, this image is dominated by acid chromatic contrasts of reds, blues and yellows merging into each other. Rather than suggesting recognisable shapes or forms, the impasto is dispersed into layers of various thickness with an essence which remains impenetrable.  

Derived from Gerhard Richter’s eponymous oil on canvas from 2006, ‘Haggadah’ (P2, 2014) is characterized by tantalizing and exciting passages of yellow, grey, red, green and blue. ‘Haggadah’ is entrancing for its seemingly endless layers of mesmerizing paint and changing sense of depth, aided by moments in which the paint is stripped and picked at.  

Notably, ‘Haggadah’ was not created as part of a series, making it a unique painting. It is exemplary of Richter’s use of a squeegee, composed of a sheet of Perspex affixed to a wooden handle, to manoeuvre paint across his canvases. This tool removes personalised brushstrokes from Richter’s composition, creating instead stark and almost mechanical moments of colour which fuse into each other. 

Named after the book of instructions for Passover, the connection between the artwork’s title and the final painting remains mysterious. Still, the title could offer insight into the work. ‘Haggadah’ loosely translates to ‘story’ from the word ‘tell’ and reflects the subtle oscillation of form that develops across the canvas. Fiercely emotive and evocative, Richter’s composition teases with moments of recognition before it ultimately dissolves once more into captivating abstraction.

Haggadah

Derived from Gerhard Richter’s eponymous oil on canvas from 2006, ‘Haggadah’ (P2, 2014) is characterized by tantalizing and exciting passages of yellow, grey, red, green and blue. ‘Haggadah’ is entrancing for its seemingly endless layers of mesmerizing paint and changing sense of depth, aided by moments in which the paint is stripped and picked at.  

In 2009, Gerhard Richter produced the oil on canvas ‘Blumenstrauß’, a compelling contribution to his iconic photo paintings series. The artist projected a photograph of a sparsely filled vase of seemingly lifeless flowers onto the canvas, painstakingly replicating the colours as he painted over the projection. Yet, Richter did not reproduce the photograph exactly, instead employing his signature blurring effect to abstract the image in a manner reminiscent of an unfocused camera. 

Richter rendered this blurred image further abstract by using a self-fashioned squeegee to pull paint across the canvas and over the painted image. These overlaying colours are faint, his strokes appearing choppy yet consistent as it subtly further obscures the base image by seemingly aging it like an old photograph.  

Richter later produced ‘Blumenstrauß’ (P3, 2014), an exceptional print that maintains the integrity of the original painting. The facsimile also builds on the original's discourses on abstraction through the logic of the photograph. ‘Blumenstrauß’ (P3) continues the journey of the vase of flowers from photograph to painting by translating the image back into its original medium, further abstracting it and adding a new dimension to this image. 

Blumenstrauß

In 2009, Gerhard Richter produced the oil on canvas ‘Blumenstrauß’, a compelling contribution to his iconic photo paintings series. The artist projected a photograph of a sparsely filled vase of seemingly lifeless flowers onto the canvas, painstakingly replicating the colours as he painted over the projection. Yet, Richter did not reproduce the photograph exactly, instead employing his signature blurring effect to abstract the image in a manner reminiscent of an unfocused camera. 

In his celebrated ‘Flow’ series from 2013, Gerhard Richter lent artistic autonomy to his medium. On a flat surface he poured vibrant enamel paints and allowed the pigments to mix, effectively creating unrestrained compositions. Once the paints achieved the desired effect, Richter placed a glass sheet over them, freezing these interactions in a moment in time.  

The facsimile print ‘Flow’ (P4, 2014) captures in high definition the vast fields of green, black and yellow enamel as they freely stream across the canvas, somewhat imitating powerful water currents in their rippling pictorial effects. The lower section of the work is particularly evocative, the green and black paints blending in a way that resembles sea foam. Yet, this composition remains entirely abstract, capturing the tension between the paints’ complex textures and the smooth surface of glass, which turns them into distant, flattened shapes fixed in motion. 

These painted effects are gracefully captured in ‘Flow’ (P4), which brilliantly imitates the harsh flattening effects of the original painting behind glass. The print also cleverly reverses the logic of Richter’s photo paintings, which translate photographs into paintings, to investigate new methods of abstraction, effectively adding a new dimension to the image.

Flow

In his celebrated ‘Flow’ series from 2013, Gerhard Richter lent artistic autonomy to his medium. On a flat surface he poured vibrant enamel paints and allowed the pigments to mix, effectively creating unrestrained compositions. Once the paints achieved the desired effect, Richter placed a glass sheet over them, freezing these interactions in a moment in time.  

‘Flow’ (P5, 2014) is an entrancing facsimile after one of Gerhard Richter’s ‘Flow’ paintings from his eponymous 2013 series. Produced through his intriguing process of allowing poured enamel paints to move and naturally interact, the painting is defined by a vivid sea of yellow enamel thinly streaked with browns, greens and purples, which are complimented by the above fields of deep blue. 

These merging or starkly contrasting colours are covered with clear glass which interrupts the fluid movement of the paints and flattens their painterly qualities into a seemingly objective configuration. The work makes representational suggestions, such as fields of beach or desert-like yellow and blue strokes recollective of the sea or sky, but nonetheless remains abstract and impenetrable.  

By using glass Richter denies the gestural process required to produce these works. Instead, shifting, spontaneous images become seemingly remote and inaccessible, an effect maintained in its facsimile. ‘Flow’ (P5) maintains the original’s integrity and allusion of intangibility while also contributing a new dimension to the image. Reversing the logic of Richter’s acclaimed photo paintings, which translate photographs into paintings, ‘Flow’ (P5) continues the artist’s perennial search for new languages of abstraction. 

‘Flow’ (P5, 2014) is an entrancing facsimile after one of Gerhard Richter’s ‘Flow’ paintings from his eponymous 2013 series. Produced through his intriguing process of allowing poured enamel paints to move and naturally interact, the painting is defined by a vivid sea of yellow enamel thinly streaked with browns, greens and purples, which are complimented by the above fields of deep blue. 

Gerhard Richter’s innovative approach to colour and technology comes to life in ‘Flow’ (P6, 2014), a facsimile print after his painting ‘Flow’ (2013). The work is composed of vivid and dynamic enamel paints in contrasting shades of green, yellow, white, red, pink and black. Poured onto the surface and encouraged to autonomously flow and mix, their movements are arrested through Richter’s application of a glass panel.  

While the interactions of enamel paints suggest unrestrained motions and complex textures, the glass halts these chromatic exchanges, magnifying the paints’ materiality and masking their tactility. This material negates the tangible effects produced on the lower band of the painting, in which smooth black and green paints mix to create a sea of ripples and flattens both colour and forms. Blurring the boundaries between gesture and chance, the smooth surface of this painting creates an expressive yet impenetrable composition. 

Richter’s ‘Flow’ (P6) not only skilfully imitates the sensibility of its original but also adds a new dimension to it, reversing the logic of his acclaimed photo paintings. In translating an abstract painting into a print, Richter pushed forward his investigation into new languages of abstraction.  

Gerhard Richter’s innovative approach to colour and technology comes to life in ‘Flow’ (P6, 2014), a facsimile print after his painting ‘Flow’ (2013). The work is composed of vivid and dynamic enamel paints in contrasting shades of green, yellow, white, red, pink and black. Poured onto the surface and encouraged to autonomously flow and mix, their movements are arrested through Richter’s application of a glass panel.  

A seemingly infinite variation of vivid colours interacts and mixes in Gerhard Richter’s ‘Flow’ (P7, 2014), a facsimile after his painting ‘Flow’ (2013). The original work is part of the eponymous series in which Richter creatively experimented with the expressive potentials of chance and materiality. By pouring and letting trickle variously coloured enamel paints on a surface, Richter achieved entirely abstract, unrestrained figurations.  

Once satisfied with the swirls and textures, Richter covered his painting with glass, arresting painted interactions in a precise moment in time and turning the tactile quality of the enamel paints into unreachable, distant visions. In this painting, vast fields of green merge with yellow paint, creating curved forms, reminiscent of sea foam or organic matter. Insisting on the abstract logic of this work, however, Richter employed glass to emphasise the complex dynamic between the painting’s materiality and the glass’ smoothness.  

This duality is captured in ‘Flow’ (P7), which maintains the integrity of the painted textures and hardened surfaces. The facsimile is also an impressive continuation of Richter’s perennial investigations into new forms of abstraction; by cleverly abstracting through reversing the logic of his photo paintings, which translate photographs into paintings, ‘Flow’ contributes a new insight into the image. 
  

A seemingly infinite variation of vivid colours interacts and mixes in Gerhard Richter’s ‘Flow’ (P7, 2014), a facsimile after his painting ‘Flow’ (2013). The original work is part of the eponymous series in which Richter creatively experimented with the expressive potentials of chance and materiality. By pouring and letting trickle variously coloured enamel paints on a surface, Richter achieved entirely abstract, unrestrained figurations.  

In Gerhard Richter’s entrancing ‘Ifrit’ (2010), the dynamic interactions and mixtures of poured bright yellow, blue and red enamel paints are frozen under a sheet of clear glass, transforming an ephemeral composition into a motionless, eternal piece. The various textures and colour interactions are particularly striking: on the painting's left, the paint works vertically, creating seemingly three-dimensional folds while on its right the paint distributes in ripples as red and yellow pigments meet to create bubbles and wrinkles.

Trapped behind glass, the colours, once spontaneously moving on the surface, are rendered inaccessible and remote. Their textures are effectively flattened but their brilliance nonetheless remains mesmerising. By unveiling the tension between the artist’s physical gesture and his random, chance-based methods, ‘Ifrit’ investigates the meanings of abstract painting, negotiating between the senses of vision and touch.

These studies are also present in ‘Ifrit’ (P8, 2014), a printed facsimile which mirrors the captivating effects of the original painting. In recreating his painting as a print, Richter reversed the logic of his iconic photo paintings, which translate photographs into paintings, blurring the boundaries between media and experimenting with new methods of abstraction. 

Ifrit

In Gerhard Richter’s entrancing ‘Ifrit’ (2010), the dynamic interactions and mixtures of poured bright yellow, blue and red enamel paints are frozen under a sheet of clear glass, transforming an ephemeral composition into a motionless, eternal piece. The various textures and colour interactions are particularly striking: on the painting's left, the paint works vertically, creating seemingly three-dimensional folds while on its right the paint distributes in ripples as red and yellow pigments meet to create bubbles and wrinkles.


Gerhard Richter’s ‘Bagdad’ (2010) began as a psychedelic palette of enamel paints which were poured onto a flat surface and allowed to autonomously interact, overlap and expand. The results are moments such as the seashell-like swirls in the work’s upper right corner and the lava-like flows in its bottom left, constructing a uniquely diverse and dynamic work. 

These swirls and flows were petrified into position through Richter’s application of a sheet of glass which effectively halted any further movement. He flattened moments of motion with the cold, stark surface of the glass, complicating the sense of tactility created through the interactions of the flowing pigments. Richter effectively encased the pigments like a specimen in a museum and abstracted the composition further by creating a sense of remove. 

Richter added another layer to this distance through his production of ‘Bagdad’ (P9, 2014). This superb facsimile simultaneously maintains the awe-inspiring movement of ‘Bagdad’ and builds on this original painting. Adding a new dimension to the original artwork, ‘Bagdad’ (P9) reverses the logic of his photo paintings, which translate photographs into paintings, inventively abstracting through converting a painted composition into a photograph. 

Bagdad

Gerhard Richter’s ‘Bagdad’ (2010) began as a psychedelic palette of enamel paints which were poured onto a flat surface and allowed to autonomously interact, overlap and expand. The results are moments such as the seashell-like swirls in the work’s upper right corner and the lava-like flows in its bottom left, constructing a uniquely diverse and dynamic work. 


Gerhard Richter’s ‘Bagdad’ (P10, 2014) is a captivating facsimile print of his original, eponymous painting from 2010. ‘Bagdad’ is a work behind glass, produced by first pouring bold colours of enamel paint onto a flat surface. Naturally, the paints interact, producing at times seemingly chemical interactions and colour blending, while retaining the strength of their pigment at others, as in the blue form at the painting’s top. 

The autonomy of Richter’s enamels was stripped when the artist laid a sheet of glass over the painting, halting any movement by freezing the composition. The tactile quality of the psychedelic paints is negated by the cold, smooth surface of the glass, which renders the paints intangible and effectively adds another layer of abstraction to the work. 

‘Bagdad’ (P10) inherently imitates this distance from the painting while it also flawlessly captures the sensibility of the paint. Yet, the work is not solely a facsimile but also constitutes a development on the original painting by contributing to it a new abstract layer. In returning to his original painting by way of converting it into a print, Richter further abstracts the work in a manner of reversed logic to his photo paintings, which translate photographs into paintings, effectively harnessing a new method of abstraction. 

Gerhard Richter’s ‘Bagdad’ (P10, 2014) is a captivating facsimile print of his original, eponymous painting from 2010. ‘Bagdad’ is a work behind glass, produced by first pouring bold colours of enamel paint onto a flat surface. Naturally, the paints interact, producing at times seemingly chemical interactions and colour blending, while retaining the strength of their pigment at others, as in the blue form at the painting’s top. 


In Gerhard Richter’s ‘Aladdin’ (2010) painting, autonomously flowing purple, yellow, blue, red and green enamel paints construct an entrancing abstract composition. On a flat surface, Richter poured the colours and watched them move, sometimes merging to create smoke-like forms as in the painting’s upper left corner, while other times maintaining their boundaries as in the purple field in its lower left. Consistent across the work is an overwhelming sense of scientific movement, practically akin to chemical reactions. 

Richter cleverly captured this motion by applying glass over the painting’s surface, effectively solidifying the pigments in a single moment in time. The cool, hard surface of the glass produces a flattening effect, negating the tactility of the paint and establishing an abstract distance. 

Richter returned to ‘Aladdin’ several years later in 2014 with ‘Aladdin’ (P11). This superb facsimile captures the sensibility of its original, reproducing the exact image as well as its distancing and flattening effects. Reversing the logic of his photo paintings, which translate photographs into paintings, ‘Aladdin’ (P11) further abstracts the original image through printmaking, adding a new layer of distance to the artwork and constituting another instance of Richter’s investigations into how he can harness technology in order to facilitate abstraction. 

Aladin

In Gerhard Richter’s ‘Aladdin’ (2010) painting, autonomously flowing purple, yellow, blue, red and green enamel paints construct an entrancing abstract composition. On a flat surface, Richter poured the colours and watched them move, sometimes merging to create smoke-like forms as in the painting’s upper left corner, while other times maintaining their boundaries as in the purple field in its lower left. Consistent across the work is an overwhelming sense of scientific movement, practically akin to chemical reactions. 


Gerhard Richter was first acquainted with Titian’s ‘Annunciation’ (1540) in 1972, when he exhibited his series ‘48 Portraits’ (1971-98) at the Venice Biennale. Titian’s painting, held at the Scuola Grande di San Rocco, so fascinated the painter that he bought a postcard of the masterpiece and began making copies once back in his studio in Germany. 

Eventually, Richter would produce five works after Titian’s ‘Annunciation’. When asked about his choice of subject for this series, Richter has acknowledged the fetishistic quality of his attraction for the painting: “I wanted to trace him as precisely as possible”, he stated, “maybe because I wanted to own such a beautiful Titian”.

In Richter’s first painting from this series, he remained mostly faithful to the original, softly blurring the edges of the bodies of the archangel Gabriel and the Virgin Mary. In the subsequent versions the delicate blur becomes a colourful, confused cloud which completely obscures the figuration such that it is only through the paintings’ titles and contexts that viewers can relate them to Titian’s original.

Richter was not attempting to copy the ‘Annunciation’ but rather dissect and purify Titian’s artistic quality. In the five versions he made of the ‘Annunciation’, Richter sought a transcendental element that could bind painterly techniques and religious discourses of the past with modern reality. This notion was brought to a new level in 2014 when Richter translated the first painting from his series into the facsimile print ‘Annunciation after Titian’ (P12).

While Richter answers his own inquiry of artistic accomplishment with abstraction, there is a yearning for a romanticised simplicity of past painterly lives: “The topic of the ‘Annunciation’ fascinated me. I just imagined it wonderful to be announced something”.

Annunciation after Titan

Gerhard Richter was first acquainted with Titian’s ‘Annunciation’ (1540) in 1972, when he exhibited his series ‘48 Portraits’ (1971-98) at the Venice Biennale. Titian’s painting, held at the Scuola Grande di San Rocco, so fascinated the painter that he bought a postcard of the masterpiece and began making copies once back in his studio in Germany. 


Gerhard Richter’s ‘Fence’ (P13, 2015) is an exquisite facsimile produced after the artist’s haunting original oil painting ‘Fence’ (2008) from his photo paintings series. 

Richter produced ‘Fence’ first by projecting a photograph onto a canvas and then painting the details of the image using the exact colours. The resulting image is near-identical, perhaps even giving the illusion that the painting would be photorealistic if not for the artist’s employment of his signature blurring technique. Reminiscent of the effect produced by an unfocused camera, this blurring renders the image distinctly ominous as the blackness above the fence is entirely obscure. Viewers are left wondering about where the image was captured: is it deceptively sinister or does it actually capture the location’s sensibility? 

‘Fence’ (P13) cleverly builds on this tension between mechanical and painterly image. The present work also progresses the original’s interrogation with the possibility of abstraction through photography. An artist perennially interested in inventive approaches to new technology, in ‘Fence’ (P13) photography is used twice, in both the original photograph and the facsimile after the resulting painting. In doing so, ‘Fence’ (P13) constitutes an imaginative discourse on abstraction.

Fence

Gerhard Richter’s ‘Fence’ (P13, 2015) is an exquisite facsimile produced after the artist’s haunting original oil painting ‘Fence’ (2008) from his photo paintings series. 


Gerhard Richter’s ‘Flow’ (P15, 2016), a facsimile print after a painting from the eponymous 2013 series, displays large fields of deep green, pink and yellow, streaked with white and black strokes. A strikingly dynamic composition, this work nonetheless conveys subtle representational suggestions, its wild colour interactions recalling powerful waves or raging storms. The kinetic figuration was composed through Richter’s application of enamel paints onto a surface, which were subsequently allowed to freely move and mix. 

Once the artist reached the desired chromatic effects, Richter placed a flat screen of clear glass over the painting, interrupting the paints’ movements and fixating them into definite forms. By flattening the enamels’ textures behind glass, Richter turned spontaneous images into precise yet inaccessible figurations. The painting’s vibrant, fluid ripples seem to lose their inherent materiality and become distant, conceptual forms.

This tension between materiality is conveyed in ‘Flow’ (P15). Eloquently capturing the sensibility of the original and maintaining the integrity of its discourses, the facsimile also constitutes a development on the original work. Reversing the logic of his famous photo paintings, which translate photographs into paintings, ‘Flow’ (P15) cleverly uses the printed medium to further Richter’s investigations into new methods of abstraction. 

Gerhard Richter’s ‘Flow’ (P15, 2016), a facsimile print after a painting from the eponymous 2013 series, displays large fields of deep green, pink and yellow, streaked with white and black strokes. A strikingly dynamic composition, this work nonetheless conveys subtle representational suggestions, its wild colour interactions recalling powerful waves or raging storms. The kinetic figuration was composed through Richter’s application of enamel paints onto a surface, which were subsequently allowed to freely move and mix. 


One of the captivating facsimiles produced after Gerhard Richter’s acclaimed ‘Flow’ series paintings from 2013 is ‘Flow’ (P16, 2016). The painting was produced by pouring enamel paints in shades of blue, black, pink, green, red and yellow onto a flat surface and allowing them to merge and flow. Richter temporarily held off interference and allowed the paints to construct compositions autonomously, such as the waves of colour in the work's upper left corner and the mountain-like peaks at its centre. 

Eventually, Richter placed a sheet of glass over the surface, preserving, like a photograph, a snapshot of a moment of time. The textures created by the various interactions are rendered flat by the glass, placing a barrier between the painted surface and the viewer, further abstracting the work by denying its tangibility. 

This effect of the hardened surface is imitated in ‘Flow’ (P16), a facsimile print which is inherently distanced from the original painting. The facsimile maintains the integrity of the original, brilliantly capturing its frozen painterly sensibility. Effectively, Richter’s remarkable ‘Flow’ (P16), a work that reverses the logic of his photo paintings (works which translate photographs into paintings) to render a composition further abstract, also constitutes an important development on the original work.

One of the captivating facsimiles produced after Gerhard Richter’s acclaimed ‘Flow’ series paintings from 2013 is ‘Flow’ (P16, 2016). The painting was produced by pouring enamel paints in shades of blue, black, pink, green, red and yellow onto a flat surface and allowing them to merge and flow. Richter temporarily held off interference and allowed the paints to construct compositions autonomously, such as the waves of colour in the work's upper left corner and the mountain-like peaks at its centre. 


Gerhard Richter’s 1995 oil on canvas ‘Tulips’ is a standout work from his acclaimed photo paintings series. The work began as a photograph from ‘Atlas’, Richter’s collection of photographs, newspaper cuttings and sketches which he has assembled since the 1960s, of a bouquet of yellow tulips in a green vase. This image is seemingly rendered through chiaroscuro as a spotlight appears to highlight the buds. 

Richter projected the photograph onto a canvas and began painting accordingly, staying true to the original image’s colours. The artist’s mechanical process of tracing a photographic image nonetheless produced an abstract image. A characteristic technique of Richter’s which echoes an unfocused camera lens, the artist blurred the image, allowing light and colour to blend in this visually captivating still life. 

Richter built on this tension between mechanical and painterly image further with ‘Tulips’ (P17, 2017). Not only does this facsimile maintain the integrity of the original painting, but it is a continuation of the issues the work initiated. Beginning as a photographic image that was abstracted through paint, the image is thus converted back into a photograph, effectively abstracting it one step further.

Tulips

Gerhard Richter’s 1995 oil on canvas ‘Tulips’ is a standout work from his acclaimed photo paintings series. The work began as a photograph from ‘Atlas’, Richter’s collection of photographs, newspaper cuttings and sketches which he has assembled since the 1960s, of a bouquet of yellow tulips in a green vase. This image is seemingly rendered through chiaroscuro as a spotlight appears to highlight the buds. 


Gerhard Richter’s life-long preoccupation with technology and alternative means of artmaking is embedded in ‘Waldhaus’ (P18, 2018), a facsimile print after the original oil on canvas from 2004. Richter’s painting began as a photograph of a house within a vast green forest which culminates in hilly peaks. 

This sublime image of a natural landscape was converted into a painting and altered through mechanical means. Richter projected the photograph onto his canvas, painstakingly tracing it with identical coloured pigments. However, Richter altered the image through his trademark blur reminiscent of an unfocused camera, effectively nodding to the image’s original medium. This effect is subtle, maintaining the integrity and readability of the original image while abstracting it in a way that captures the sensibility of the serene landscape. 

Richter returned to ‘Waldhaus’ with the present edition, a facsimile of tantamount quality which meticulously relays the captivating details of the painted original. Removed once more from the photographic original, ‘Waldhaus’ (P18) contributes a new dimension to this work. Embracing the potentials of technology, 'Waldhaus’ (P18) circles the image back to its true original state in yet another investigation into new methods of abstraction. 

Waldhaus

Gerhard Richter’s life-long preoccupation with technology and alternative means of artmaking is embedded in ‘Waldhaus’ (P18, 2018), a facsimile print after the original oil on canvas from 2004. Richter’s painting began as a photograph of a house within a vast green forest which culminates in hilly peaks. 


‘Cage 1’ (P19-1, 2020) is a Giclée print made after the first of Gerhard Richter’s monumental series of ‘Cage Paintings’ (2006). Originally, Richter intended for the canvases of his ‘Cage’ series to be painted after photographs of atomic structures, but unexpectedly initiated a practice of ‘unpainting’ when he became displeased with their current trajectory.

To this effect, Richter used a self-made squeegee to push and pull layers of paint across his canvases in horizontal and vertical bands, creating heavily textured artworks where bands of colour are intermittently disrupted and destroyed. The visual impact of these uniquely textured canvases was further enhanced by the artist’s use of a scraper to pick at the painted surface of his works. Each resulting multi-directional scratches and indentations, as well as the vivid tonal nuances, are perfectly preserved in the Giclée print.

‘Cage 1’, scaled down from its vast original dimensions to one square metre in the present edition, is one of the most colourful works in the series. The artwork image is dominated by an intense hue of lime green, with a wide bottle-green bar making its way across the top of the canvas. On the right-hand side of the work, a white bar runs vertically, interspersed with patches of green, grey, blue and red. 


Cage

‘Cage 1’ (P19-1, 2020) is a Giclée print made after the first of Gerhard Richter’s monumental series of ‘Cage Paintings’ (2006). Originally, Richter intended for the canvases of his ‘Cage’ series to be painted after photographs of atomic structures, but unexpectedly initiated a practice of ‘unpainting’ when he became displeased with their current trajectory.


Based on the second of Gerhard Richter’s acclaimed ‘Cage Paintings’ (2006), ‘Cage 2’ (P19-2, 2020) is a mesmerising Giclée print that captures with remarkable fidelity the varied texture and distinctive colours of the original. Lighter in colour than many other works in the series, ‘Cage 2’ is predominantly pale grey, white and lime green, with smaller areas bright red and darker grey.

The ‘Cage Paintings’ pay tribute to the experimental composer John Cage, whose music Richter listened to while painting the series. The distinctive technique used to create the ‘Cage Paintings’ reflects their experimental inspiration. Rather than a painter’s brush, the artist used a squeegee to wipe paint across the canvas in an almost mechanical action, echoing some of the central tenets of Cage’s practice – in particular the composer’s desire to eliminate the ego in his music. The use of a squeegee adds a layer of distance between the artist and his work, producing sensuous textures while revealing or obscuring layers or paint.  


Based on the second of Gerhard Richter’s acclaimed ‘Cage Paintings’ (2006), ‘Cage 2’ (P19-2, 2020) is a mesmerising Giclée print that captures with remarkable fidelity the varied texture and distinctive colours of the original. Lighter in colour than many other works in the series, ‘Cage 2’ is predominantly pale grey, white and lime green, with smaller areas bright red and darker grey.


One of a series of Giclée prints based on Gerhard Richter’s ‘Cage Paintings’ (2006) series, ‘Cage 3’ (P19-3, 2020) is an intensely textured and evocative work. The image is primarily composed of light grey and white, which traverse the picture plane in horizontal bands, peppered with visible scratch marks and indentations.

The roughly textured finish of the canvas in ‘Cage 3’ is the result of Richter’s innovative painting method, wherein layers and layers of paint were tugged and spread over the canvas with the artist’s famous squeegee. This hand-made tool, fashioned from a Perspex bar and handle, allowed the artist to either add or remove strips of colour to a canvas, alternatively obscuring and revealing the layers beneath, in a constant process of addition and subtraction.  

Through this random yet selective method, which allowed him to choose the accidents he wanted to keep and to obscure those he did not, Richter was able to create abstract canvases whose colours seem to gain a life of their own. Though the artist worked deliberately, the introduction of a mechanical element to the process (in the form of Richter’s squeegee) allowed chance to play a role in the formation of each final image. 


One of a series of Giclée prints based on Gerhard Richter’s ‘Cage Paintings’ (2006) series, ‘Cage 3’ (P19-3, 2020) is an intensely textured and evocative work. The image is primarily composed of light grey and white, which traverse the picture plane in horizontal bands, peppered with visible scratch marks and indentations.


The densely textured surface of Gerhard Richter’s ‘Cage 4’ (P19-4, 2020) seems to invite and resist interpretation in equal measure. The grey paint that dominates the composition has been scraped back in many places to reveal brightly coloured sublayers, in ripples of red, white and yellow. 

‘Cage 4’ is a Giclée print based on the eponymous painting from Richter’s ‘Cage Paintings’ (2006) series. These works reflect Richter’s attempt to create works than can exist autonomously, entirely removed from the artist’s ego. This effort, inspired by the philosophies and practice of experimental composer John Cage, was realised using a hand-made tool – a squeegee built from a Perspex bar and a handle – that the artist used to push and pull seemingly endless layers of paint across his canvases.  

In both its painted and printed form, ‘Cage’ is a series that incorporates dynamic bodily movement and an emotive contemplation of colour. In experimenting with the potentialities of paint and the role of chance in composition, Richter produced images of intense philosophical and sensorial weight. 


The densely textured surface of Gerhard Richter’s ‘Cage 4’ (P19-4, 2020) seems to invite and resist interpretation in equal measure. The grey paint that dominates the composition has been scraped back in many places to reveal brightly coloured sublayers, in ripples of red, white and yellow. 


Intensely grey, with small areas of white, red, pale yellow and black, ‘Cage 5’ (P19-5, 2020) is at once opaque and richly suggestive. A Giclée printed edition after Gerhard Richter’s eponymous painting, the present work scales down Richter’s original work to one meter square, transforming the vast canvas into a particularly intimate visual experience. Part of the artist’s ‘Cage Paintings’ (2006) series, conceived as a tribute to the experimental composer John Cage, ‘Cage 5’ is a unique and complex composition that explores the autonomous expressive potentials of paint.

Richter’s use of a self-made squeegee in painting his ‘Cage’ series constitutes a monumental contribution to the history of painting. In using the tool to scrape and smear paint across the surface of his canvases, Richter attempted to infuse artistic agency into the paintings, deliberately taking a more distant role in determining the final image. 

This process, wherein layers of paint are obscured and revealed with each pass of the squeegee, results in a mesmerising and meditative work. The variously coloured sublayers emerging from beneath the grey surface of the painting seem to ripple and shimmer, suggesting, but not quite unveiling, another composition, just out of sight.


Intensely grey, with small areas of white, red, pale yellow and black, ‘Cage 5’ (P19-5, 2020) is at once opaque and richly suggestive. A Giclée printed edition after Gerhard Richter’s eponymous painting, the present work scales down Richter’s original work to one meter square, transforming the vast canvas into a particularly intimate visual experience. Part of the artist’s ‘Cage Paintings’ (2006) series, conceived as a tribute to the experimental composer John Cage, ‘Cage 5’ is a unique and complex composition that explores the autonomous expressive potentials of paint.


A Giclée print after Gerhard Richter’s painting ‘Cage (6)’ (2006), ‘Cage 6’ (P19-6, 2020) is characterised by its shimmering fields of textured colour. Entrancing bands of aqua green, citrus yellow, black and Prussian blue ripple across the picture plane in this visionary composition. A strikingly abstract composition, this complex image defies literal interpretation, inviting viewers to try and understand the work on an emotional and philosophical level.  

‘Cage (6)’ is the final work in Richter’s ‘Cage Paintings’ (2006) series, which consists of six vast and awe-inspiring canvases that, with their grand scale and intense colour, seem to cocoon and envelope the viewer. These works were created using a squeegee with which the artist wiped paint across the canvas, creating and obscuring innumerable layers of colour. The series responds to Richter’s attempt to create works that can exist autonomously, removed from the artist’s ego.

The blunt and mechanical motion of the squeegee introduces an element of chance into the painting process, creating a deliberate distance between the artist and his artwork. The present facsimile builds upon this practice of non-involvement, as the mechanical reproduction of an image removes the artwork further still from its creator. It is almost as if the composition had emerged independently, without the need for human involvement. 


A Giclée print after Gerhard Richter’s painting ‘Cage (6)’ (2006), ‘Cage 6’ (P19-6, 2020) is characterised by its shimmering fields of textured colour. Entrancing bands of aqua green, citrus yellow, black and Prussian blue ripple across the picture plane in this visionary composition. A strikingly abstract composition, this complex image defies literal interpretation, inviting viewers to try and understand the work on an emotional and philosophical level.  


Terms of Service

## This Privacy Notice and your rights

1\. This Privacy Notice describes how the HENI Group of businesses process personally identifiable information (“Personal Data”) in accordance with data protection laws.

2\. The HENI Group businesses to which this Privacy Notice applies (“we”,“us”,“our”) are:

• Prudence Cuming Associates Ltd, which is the Data Controller of Personal Data relating to that business (please contact [terms@pca.com](mailto:terms@pca.com)); and

• Heni Gmbh, which is the Data Controller of Personal Data relating to that business (please contact [terms@heni.com](mailto:terms@heni.com) ); and

• Pierce Protocols Ltd, which is the Data Controller of Personal Data collected and processed through all other websites, products and services provided within the Heni Group (unless a group company has its own privacy notice) (please contact [terms@heni.com](mailto:terms@heni.com)); To review the relevant privacy notices of any other group company or affiliated entities in the HENI Group of businesses please review the relevant website or contact us for further information.

3\. By visiting any HENI Group website or when completing any customer or client registration process with us and/or placing an order on our websites, you agree to be bound by the terms of this Privacy Notice, which also includes our Cookies Policy (see below).

4\. This Privacy Notice also applies more generally to and provides information for the benefit of a wider range of individuals on whom we process Personal Data, whether or not such individuals are our customers and clients, contacts, suppliers, contractors, or visitors to our websites or premises.

5\. Data protection laws generally provide individuals with rights in relation to the processing of their Personal Data. These include rights to information relating to such processing, to access to such Personal Data, to object to the processing, to rectify, erase, restrict and to port such Personal Data. You can seek to exercise any of these rights or make any other enquiry about our use of your Personal Data by contacting us at any time using the relevant Data Controller email address(es) above.

6\. Our aim always is to process Personal Data fairly, lawfully and transparently. However, if you are unhappy with the information provided in this Privacy Notice or have any broader questions or concerns please email the relevant Data Controller email address(es) above. If you remain dissatisfied you may raise your unresolved issues directly with the Information Commissioner’s Office (who can be contacted at Wycliffe House, Water Lane, Wilmslow, Cheshire, SK9 5AF or via ico.org.uk).

## Personal Data we may collect from you

7\. When you want to register with or make purchases through any HENI Group website, we will ask you to input and we will collect Personal Data from you (such as your name, e-mail address, billing address, delivery address, telephone number, product selections, and payment information). This includes when you subscribe to receive newsletters or notifications, post comments on our websites or contact us using the ‘contact’ form on our websites.

8\. We may also collect information about where you are on the internet (e.g. the URL you came from, IP address, domain types like .co.uk and .com), your browser type, the country and telephone area code where your computer is located and the pages of our website that were viewed during your visit. We may collect this information even if you do not register with us.

9\. More generally, and subject to this Privacy Notice, we may also obtain Personal Data when you meet with us or correspond with us by email, post, telephone or any other method.

10\. Personal Data about you may also be collected from publicly available records or from other sources, including other affiliates of the HENI Group of businesses.

11\. We may also obtain Personal Data about you when we use video cameras and aerial UAVs for the purpose of creating video footage and photos relating to artworks. For example, whilst filming on location, members of the public may be captured in images/video footage. Any member of the public whose image is captured would be very distant and it is unlikely that they will be recognisable. In the event they are recognisable, we would blur them out of any edited footage.

## Security of your Personal Data

12\. We will treat all your Personal Data as confidential and will only disclose it to third parties outside the HENI Group in accordance with this Privacy Notice. We will keep Personal Data secure and fully comply with all applicable UK data protection and consumer legislation from time to time in place.

13\. The HENI Group will retain Personal Data for at least the length of time required for the specific purposes for which it is processed, as set out in this Privacy Notice, and for such additional periods as are required by law or in order to ensure best practice (including effective back-up systems).

14\. We will take all reasonable care, in so far as it is in our power to do so, to keep your Personal Data, and the details of your orders and payments secure, but in the absence of proven negligence on our part we cannot be held liable for any loss you may suffer if a third party procures unauthorised access to any Personal Data we process on your behalf.

## Processing and disclosure of your Personal Data

15\. The HENI Group will process your Personal Data for the following purposes or as otherwise set out in this Privacy Notice, on the basis that such processing is in our and/or your legitimate interests:

• for the purposes of negotiating or performing any contracts entered into between you, or some company to which you are affiliated, and any HENI Group business;

• to address any correspondence, comments or enquires made by you;

• to allow you to participate in interactive features on our websites, should you choose to do so, and to provide the services you request;

• to email you with HENI Group invites, newsletters and/or suggestions about products, services or content that may be of interest to you, where we have a legitimate interest to do so in compliance with data protection and privacy law and/or where you provided your consent. However, you may stop such notifications at any time by contacting our customer services team by emailing the relevant Data Controller email address(es) above using the word “unsubscribe” in the subject line or otherwise by opting out of the particular email in the manner described;

• for the effective management of the HENI Group of businesses in accordance with our legitimate interests, such as in group structuring and management, engaging suppliers, generating surveys and statistics, measuring performance and website usage, implementing service improvement and marketing plans, etc;

• disclosing your Personal Data to third parties outside the HENI Group of businesses for the purposes stated above, including on your behalf or in order to enforce or apply our Terms and Conditions, or to protect the rights, property, or safety of HENI Group businesses and our personnel, customers, or others. This may include exchanging information with other organisations for the purposes of fraud protection and credit risk reduction; and

• disclosing your Personal Data to any HENI Group business or affiliate, which means our subsidiaries, any ultimate holding company and its subsidiaries, or any affiliated person or business. In the event that the relevant Data Controller, as identified above, or its assets, are acquired by a third party, Personal Data held by us may also be one of the transferred assets.

• for the purpose of creating video footage and photos of artworks.

• disclosing your Personal Data to third parties outside the HENI Group of businesses for provenance and/or authentication purposes in relation to artworks sold on any Heni Group website.

• disclosing your Personal Data to named third-party organisations for marketing purposes, where we have your consent to do so, for example, if you ticked the relevant opt-in box on our websites or when contacted. In these instances, we will supply your Personal Data to the specific organisation(s) only.

16\. The HENI Group may also process your Personal Data, including disclosing such Personal Data to third parties, as required by virtue of any legal, regulatory or other obligation. For example, the HENI Group of businesses will from time to time be required to disclose Personal Data to external law firms, accountants and auditors, insurance brokers and underwriters.

17\. The HENI Group will process Personal Data in the course of receiving payments from our clients and customers, and when making payments to such persons and to other third parties. The payment methods used will include bank transfers (which will require account names, numbers and sort codes, and possibly other information) and debit or credit card transactions (though note that we do not retain card information and payments via card will be processed securely in accordance with the Payment Card Industry Data Security Standard (PCI DSS) to protect sensitive cardholder data by a payment services provider in accordance with paragraph 17 of this Policy).

18\. Financial transactions through all HENI Group websites will be handled through a payment services provider, for example Stripe or PayPal, with which you will deal directly. You can review the Stripe Privacy Notice at stripe.com. PayPal Privacy Notice at paypal.com. We shall share Personal Data with such payment services providers only to the extent necessary for the purposes of processing payments, and dealing with complaints and queries relating to such payments.

## Where we store and transfer your Personal Data

19\. The Personal Data which HENI collect from you and which we process for the purposes set out above may be transferred outside the European Economic Area (“EEA”) where appropriate and necessary in accordance with our legitimate interests. Personal Data may also be processed by HENI Group staff, or for one of our suppliers or agents, operating outside the EEA. Such persons or entities maybe engaged in, among other things, the fulfilment of your orders, the processing of your payment details or the provision of support services.

20\. If and when making such transfers outside the EEA we will take all steps reasonably necessary to ensure that your Personal Data is managed securely and in accordance with this Privacy Notice and relevant data protection law.

## Cookies Policy

21\. By visiting and interacting with any HENI Group website to which this Privacy Notice applies, you are agreeing to our use of cookies in accordance with this policy and the relevant website Terms of Use.

22\. Cookies are small files that are stored on your computer or internet-enabled portable device by the websites you visit. They are used to make websites work and to improve their efficiency, as well as to provide website usage information to the website owner. Cookies contain information such as the time that the current visit occurred, whether the visitor has been to the website before and what site referred the visitor to the web page.

23\. HENI Group websites use cookies to distinguish you from other users of the site, in order to help us to improve your user experience. Some cookies are essential for the functionality of the website and allow features to work correctly. Other cookies may collect information about how visitors interact with our site, for instance to show which pages are viewed mostly frequently.

24\. Google Analytics: we use this web analytics tool to anonymously track usage statistics to help us improve the user experience of our site. Like many services, Google Analytics uses first-party cookies to track visitor interactions as in our case, where they are used to collect information about how visitors use our site. We then use the information to compile reports and to help us improve our website. Google Analytics collects information anonymously; it reports website trends without identifying individual visitors. You can opt out of Google Analytics without affecting how you visit our site – for more information on opting out of being tracked by Google Analytics across all websites you use, visit this Google page: https://tools.google.com/dlpage/gaoptout.

25\. Vimeo cookies: HENI Talks embed videos from the official Vimeo channel. This channel may set cookies on your computer when you use the Vimeo service or visit a webpage with a Vimeo video. Some of the cookies will only be used if you use certain features or select certain preferences and some cookies will always be used. For more information on Vimeo’s cookie policy visit:[https://vimeo.com/cookie_policy](https://vimeo.com/cookie_policy).

26\. Twitter cookies: HENI Talks also embed a Twitter feed on our press page to show the latest tweets between us and our viewers. If you click through to Twitter they may use both session cookies and persistent cookies to better understand how you interact with their service. For more information on Twitter’s cookie policy visit: [https://twitter.com/en/privacy](https://twitter.com/en/privacy).

## Variations to this Privacy Notice

27\. We may vary the terms of this Privacy Notice from time-to-time. Please check this webpage regularly to ensure you are familiar with the current version as your Personal Data is subject to the Privacy Notice in effect at the time when you provided that information.

28\. This Privacy Notice will be governed by and construed in accordance with English law, and any disputes relating to this notice shall be subject to the exclusive jurisdiction of the courts of England.

Privacy Policy

**1\. This Privacy Notice and Your Rights**

This Privacy Notice describes how HENI Tech LLC (referred to as “Heni”,“we”,“us”or “our” in this Privacy Notice) processes personally identifiable information through your use of the websites, products and services we make available to you (together the “Services”). By using the Services, you agree to be bound by the terms of this Privacy Notice, which also includes our Cookies Policy (see below).

HENI Tech LLC is the controller and is responsible for the collection, processing and use of your Personal Data (as defined below). If you have any questions about this Privacy Notice , please contact us at: terms@heni.com.

It is important that you read this Privacy Notice together with any other privacy policy or fair processing policy we may provide on specific occasions when we are collecting or processing Personal Data (as defined below) about you so that you are fully aware of how and why we are using your data. This Privacy Notice supplements other notices and privacy policies made available by us. In the event of a conflict, the terms of this Privacy Notice shall apply.

To review the relevant privacy notices of any other group company or affiliated entities in the HENI Group of businesses (“HENI Group”) please review the relevant website or contact us for further information.

If you are using the Services from the European Union (“EU”) or the United Kingdom (“UK”), see our Notice to EU and UK data subjects in section 5 below for our legal bases for processing and transfer of your Personal Data.

**2\. Personal Data We may Collect From You**

When you want to register with, apply to purchase or make purchases through our websites to which this Privacy Notice applies (collectively, the “Website”) or when you subscribe to receive newsletters or notifications, post comments on the Website or contact us using the ‘contact’ form on our Website, or correspond with us by email, post, telephone or any other method, we may ask you to provide and may collect personally identifiable information from you, such as your first and last name, e-mail address, billing address, shipping address, telephone number, product selections, and payment information. We may also collect:

• Your wallet address or other information related to your digital wallet that may be considered Personal Data under certain data privacy laws; and

• Information required to comply with anti-money laundering (“AML”) laws and know-your-customer (“KYC”) requirements (including, but not limited to, your photographic identity, nationality, date of birth, address and place of birth);

We may also collect information about you as you navigate through and interact with our Service, including, but not limited to the URL of the website you visited prior to accessing our Website, IP addresses, your browser type, Ethereum address, wallet type, application programming interface (API)-key, network information regarding transactions the country and telephone area code where your computer is located, the pages of our Website that were viewed during your visit, and cookies and other data analytics described in Section 6 below. We may collect this information even if you do not register with us.

We may receive personally identifiable information about you from publicly-available records or from other sources, including other affiliates of the HENI Group that offer their products and/or services on our Service. In particular, MetaMask and other wallets provide us with your Ethereum address and certain other information you choose to share with MetaMask and other wallets. These third party companies may supply us with Personal Data. We may add this to the information we have already collected from you via our Service in order to improve it.

The personally identifiable information described in this Section is referred to in this Privacy Policy as “Personal Data”.

**3\. Security of your Personal Data**

We will treat all your Personal Data as confidential and will only disclose it to third parties outside the HENI Group in accordance with this Privacy Notice. We will keep Personal Data secure as necessary to comply with all applicable data protection and consumer protection requirements.

We will retain Personal Data for at least the length of time required for the specific purposes for which it is processed, as set out in this Privacy Notice, or in order to ensure best practices (including, for example, maintaining effective backup systems) and for such additional periods as necessary to comply with applicable laws.

**4\. Processing and disclosure of your Personal Data**

We will process your Personal Data for the following purposes or as otherwise set out in this Privacy Notice:

• to process your application to make purchases through our Website;

• to facilitate the creation of and secure your account on our Website;

• for the purposes of negotiating or performing any contracts entered into between you, or some company to which you are affiliated, and Heni;

• as required by virtue of any legal, regulatory or other obligation such as to comply with AML and KYC requirements;

• to address any correspondence, comments or enquires made by you;

• to allow you to participate in interactive features on our Website, should you choose to do so, and provide the Services you request, including but not limited to facilitating your cryptocurrency transactions through MetaMask or other wallets that may be available to use with our Services;

• to email you with HENI Group invites, newsletters and/or suggestions about products, services or content that may be of interest to you. However, you may stop such notifications at any time by contacting our customer services team by emailing our email address(es) using the word “unsubscribe” in the subject line or otherwise by opting out of the particular email in the manner described;

• for the effective management of the HENI Group such as in group structuring and management, engaging suppliers, generating surveys and statistics, measuring performance and website usage, and implementing service improvement and marketing plans;

• we will process Personal Data in the course of receiving payments from our clients and customers, and when making payments to such persons and to other third parties. The payment methods used will include bank transfers (which will require account names, numbers and sort codes, and possibly other information) and debit or credit card transactions (though note that we do not retain card information and payments via card will be processed securely in accordance with the Payment Card Industry Data Security Standard (“PCI DSS”) to protect sensitive cardholder data by a payment services provider);

• to manage our relationship with you which will include notifying you about changes to our Terms of Service or Privacy Notice;

• to administer and protect our business and Website (including troubleshooting, data analysis, testing, system maintenance, support, reporting and hosting of data);

• to use data analytics to improve our Services, customer relationships and experiences; or

• any other way we may describe when you provide Personal Data.

We may share your Personal Data with the parties and for the purposes set out below:

• disclosing your Personal Data to third parties outside the HENI Group for the purposes stated above, including on your behalf or in order to enforce or apply our Terms of Service, or to protect the rights, property, or safety of HENI Group businesses and our personnel, customers, or others. This may include exchanging information with other organisations for the purposes of fraud protection and credit risk reduction;

• disclosing your Personal Data to third parties outside the HENI Group as required by virtue of any legal, regulatory or other obligation. For example, we will from time to time be required to disclose Personal Data to external law firms, accountants and auditors, insurance brokers and underwriters;

• disclosing your Personal Data to any HENI Group business or affiliate, which means our subsidiaries, any ultimate holding company and its subsidiaries, or any affiliated person or business. In the event that we or our assets, are acquired by a third party, Personal Data held by us may also be one of the transferred assets; and

• disclosing your Personal Data to third parties outside the HENI Group who need it to do work for us. These recipients may include third party companies and individuals who provide the Services on our behalf, such as operating our Website.

• disclosing your digital wallet address to third parties outside the HENI Group, such as secondary marketplaces, who need it to provide a service to you, where you have chosen to subscribe to their service.

Financial transactions through our Websites will be handled through a payment services provider, including Stripe or PayPal, with which you will deal directly. You can review the Stripe Privacy Notice at stripe.com. PayPal Privacy Notice at paypal.com. We shall share Personal Data with such payment services providers only to the extent necessary for the purposes of processing payments, and dealing with complaints and queries relating to such payments.

You may permit us to share your Personal Data with other companies or entities of your choosing including those companies or entities whose websites or services you can link to from our Website. Those uses will be subject to the privacy policies of the recipient entity or entities.

**5\. Notice to EU and UK data subjects**

This section of the Privacy Notice describes how we process Personal Data relating to individuals in the EU and the UK in accordance with:

• the EU General Data Protection Regulation ((EU) 2016/679) (“EU GDPR”) - in respect of individuals in the EU; and

• the retained EU law version of the EU GDPR that applies in the UK, along with the Data Protection Act 2018 (“UK GDPR”) – in respect of individuals in the UK,

the EU GDPR and the UK GDPR are referred to together as the “Data Protection Legislation”.

**Your rights**

The Data Protection Legislation generally provides individuals with rights in relation to the processing of their Personal Data. These include rights to information relating to such processing, to access such Personal Data, to object to the processing, to rectify, erase, restrict and to port such Personal Data. You can seek to exercise any of these rights or make any other enquiry about our use of your Personal Data by contacting us at any time using the email address above.

Our aim always is to process Personal Data fairly, lawfully and transparently. However, if you are unhappy with the information provided in this Privacy Notice or have questions or concerns regarding this Privacy Notice please email us at the email address above. If you remain dissatisfied you may raise your unresolved issues directly with the data protection regulator in your jurisdiction. You can find your data protection regulator here: https://ec.europa.eu/justice/article-29/structure/data-protection-authorities/index_en.htm.

**Sensitive Personal Data**

Some of the information you provide us may constitute sensitive personal data as defined in the Data Protection Legislation (also referred to as special categories of personal data), including identification of your race or ethnicity on government-issued identification documents which we may collect as part of AML and KYC as explained above.

**Legal Bases for Processing**

We will only use your Personal Data as the law permits. We are required to inform you of the legal bases of our processing of your Personal Data. We have set out below a description of all the ways we plan to use your Personal Data, and which of the legal bases we rely on to do so.

Please note that we may process your Personal Data for more than one lawful ground depending on the specific purpose for which we are using your data.

| Purpose | Lawful basis for processing |
| :----------------------------------------------------------- | :----------------------------------------------------------- |
| To provide our Services including to address any correspondence, comments or enquires made by you and to allow you to participate in interactive features on our Website, should you choose to do so | Performance of a contract with you Necessary for our legitimate interests |
| To process and deliver your purchase orders including to manage payments, fees and charges | Performance of a contract with you Necessary for our legitimate interests |
| To email you with HENI Group invites, newsletters and/or suggestions about products, services or content that may be of interest to you | Necessary for our legitimate interests Consent |
| For the effective management of the HENI Group such as in group structuring and management, engaging suppliers, generating surveys and statistics, measuring performance and website usage, implementing service improvement and marketing plans, etc | Necessary for our legitimate interests |
| To manage our relationship with you which will include notifying you about changes to our Terms of Service or Privacy Policy | Performance of a contract with you Necessary to comply with a legal obligation Necessary for our legitimate interests |
| To administer and protect our business and Website (including troubleshooting, data analysis, testing, system maintenance, support, reporting and hosting of data) | Necessary for our legitimate interests Necessary to comply with a legal obligation |
| To use data analytics to improve our Services, customer relationships and experiences | Necessary for our legitimate interests |
| To comply with AML and KYC requirements | To comply with legal obligations |

**Change of purpose**

We will only use your Personal Data for the purposes for which we collected it, unless we reasonably consider that we need to use it for another reason and that reason is compatible with the original purpose. If you wish to receive an explanation as to how the processing for the new purpose is compatible with the original purpose, please contact us.

If we need to use your Personal Data for an unrelated purpose, we will notify you and we will explain the legal basis which allows us to do so.

Please note that we may process your Personal Data without your knowledge or consent, in compliance with this Privacy Notice, where it is required or permitted by law.

**Cross-Border transfer**

The Personal Data which we collect from you and which we process for the purposes set out in this Privacy Notice may be held and transferred outside the European Economic Area (“EEA”) where appropriate and necessary in accordance with our legitimate interests. Personal Data may also be processed by HENI Group staff, or by one of our suppliers or agents, operating outside the EEA. Such persons or entities may be engaged in, among other things, the fulfilment of your orders, the processing of your payment details or the provision of support services.

If and when making such transfers outside the EEA we will take all steps reasonably necessary to ensure that your Personal Data is managed securely and in accordance with this Privacy Notice and applicable Data Protection Legislation.

**6\. Cookies Policy**

By visiting and interacting with any Website to which this Privacy Notice applies, you are agreeing to our use of cookies in accordance with this Privacy Notice and the relevant website’s terms and conditions.

Cookies are small files that are stored on your computer or internet-enabled portable device by the websites you visit. They help websites improve their efficiency, as well as to provide usage information to the website owner. Cookies contain information such as the time that a website visit occurred, whether the visitor has been to the website before and what site referred the visitor to the web page.

We use cookies on our Website to distinguish you from other users of the site, in order to help us to improve your user experience. Some cookies are essential for the functionality of the Website and allow features to work correctly. Other cookies may collect information about how you interact with our site, including, for example, showing which pages are viewed mostly frequently.

Mixpanel: We collect personal information such as your email address and your user activity through the use of Mixpanel. Mixpanel helps us analyze usage patterns of our users. Mixpanel’s ability to use and share information is governed by the Mixpanel Terms of Use, available at https://mixpanel.com/terms , and the Mixpanel Privacy Policy, available at https://mixpanel.com/privacy. You can opt-out of Mixpanel’s services by clicking on the following link: https://mixpanel.com/optout.

Segment: Segment.io is a central service that allows us to more efficiently forward analytics data to our other data processors. To learn about the privacy practices of Segment please review https://segment.com/docs/legal/privacy. Please contact us if you want to opt-out from Segment.

**7\. How We Respond to Do Not Track Signals**

We do not currently respond to “do not track” signals or other mechanisms that might enable you to opt out of tracking on our Website. You can typically remove and reject cookies from the Services with your browser settings. Many browsers are set to accept cookies until you change your settings. If you remove or reject the cookies, it could affect how the Services work for you.

**8\. Children**

We do not knowingly collect, maintain, or use personal information from children under 13 years of age, and no part of our Service is directed to children. If you learn that a child has provided us with personal information in violation of this Privacy Notice, then you may alert us at the email provided above.

**9\. Third party links**

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Gerhard Richter’s series of six ‘Cage’ prints (P19, 2020) were based off his monumental ‘Cage Paintings’, created in 2006. For the Gagosian Gallery premiere in June 2021 they were accompanied by a recital featuring rock icon Patti Smith. “Everybody has a song which is no song at all”, said Smith. “It is a process of singing and when you sing you are where you are”. Her evocative words capture the essence of the exchange between the painting and print.

In both the paintings and the prints there is an active moment: it is the song in the process of being sung. It has its own quality and offers itself as a unique experience. If the original ‘Cage Paintings’ are monumental fields of colour, which cocoon and envelope the spectator, the small square print ‘Cage’ is intimate. Yet, the two are also profoundly linked as they both provide a visionary colour experience: in the case of the print and painting ‘Cage 6’ a texture of aqua greens, citrus yellows, black and Prussian blues.

Richter created the ‘Cage Paintings’ while listening to the experimental music of John Cage. His approach to the paintings and prints resonates central tenets of Cage’s practice, in particular the musician’s pursuit to eliminate the ego in his music. This ongoing concern, for Cage, reflected his deep interest in Buddhism and its non-dualistic philosophy that conceives the boundaries of the ego as an impediment in the experience of a unified consciousness. The notion of eliminating the artistic ego was already central to Richter’s aesthetic. In the ‘Cage Paintings’, he denied the handmade quality of traditional painting. Refusing to use a painter’s brush, which has associations of the personal touch, he fashioned his famous squeegee from a Perspex bar and a handle. This heavy apparatus allowed him to wipe paint across the canvas with a mechanical action that was almost slick. By adding further vertical or horizontal strips of colour, he eliminated the layer before it.  

Printmaking allows Richter to extend his practise and further develop his aesthetic of non-involvement since mechanically reproduced prints are further removed from the artist. In the case of ‘Cage’, the work is one stage further removed since the prints are based on photographs of the original painting. While this technique, with its effacement of individuality, reflects the idea of the ego as an impediment, Richter’s fields of shimmering colour could be equated to the spiritual concept of an elevated state of balance. 

In both its painted and printed form, ‘Cage’ is a series that incorporates dynamic bodily movement and an emotive contemplation of colour. In an attempt to create works that can truly exist autonomously, entirely removed from the artist’s ego, Richter has produced images of intense philosophical and sensorial weight. 

Gerhard Richter’s series of six ‘Cage’ prints (P19, 2020) were based off his monumental ‘Cage Paintings’, created in 2006. For the Gagosian Gallery premiere in June 2021 they were accompanied by a recital featuring rock icon Patti Smith. “Everybody has a song which is no song at all”, said Smith. “It is a process of singing and when you sing you are where you are”. Her evocative words capture the essence of the exchange between the painting and print.

Gerhard Richter

Series