Carnival
Carnival
Signed Print
Bridget Riley
£8,500-£12,500
$16,000-$24,000 Value Indicator
$14,500-$21,000 Value Indicator
¥80,000-¥110,000 Value Indicator
€10,000-€14,500 Value Indicator
$80,000-$120,000 Value Indicator
¥1,670,000-¥2,450,000 Value Indicator
$10,500-$16,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 75
Year: 2000
Size: H 56cm x W 76cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Christie's London - United Kingdom | Carnival - Signed Print | |||
| March 2022 | Sotheby's Online - United Kingdom | Carnival - Signed Print | |||
| February 2022 | Christie's London - United Kingdom | Carnival - Signed Print | |||
| July 2021 | Chiswick Auctions - United Kingdom | Carnival - Signed Print | |||
| June 2018 | Bonhams New Bond Street - United Kingdom | Carnival - Signed Print | |||
| January 2017 | Phillips London - United Kingdom | Carnival - Signed Print | |||
| October 2014 | Christie's London - United Kingdom | Carnival - Signed Print |
Meaning & Analysis
Carnival is, as the title suggests, a carnival of colours and shapes, which appear to dance across the picture surface. Released in 2000, this signed screen print is a limited edition of 75. Using just three colours: pink, orange and yellow, Riley creates an electric composition. Indeed, Riley’s enduring attention to the inner dynamic of a painting, coupled with her engagement with abstraction, has led to Riley’s works frequently being described in relation to music.
Colour in this series, like Riley’s other series, is declaratively interactive: each hue seems to change pitch and tone depending on its neighbours. Far removed from Riley’s monochromatic origins, Riley’s Lozenges work sees the abstract artist at her most confident with colour.
Of her work, Riley stated the viewer’s eye “should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events”.
