From One To The Other
From One To The Other
Signed Print
Bridget Riley
£12,500-£19,000
$25,000-$40,000 Value Indicator
$23,000-$35,000 Value Indicator
¥110,000-¥170,000 Value Indicator
€15,000-€23,000 Value Indicator
$120,000-$190,000 Value Indicator
¥2,470,000-¥3,750,000 Value Indicator
$16,000-$24,000 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: 2005
Size: H 49cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2021 | Bonhams Knightsbridge | United Kingdom | |||
| October 2020 | Bonhams Knightsbridge | United Kingdom | |||
| October 2020 | Rosebery's Fine Art Auctioneers | United Kingdom | |||
| January 2020 | Phillips London | United Kingdom | |||
| January 2017 | Phillips London | United Kingdom |
Meaning & Analysis
From One To The Other (2005), by British Op-Artist Bridget Riley, was released in a signed edition of 75 screen prints. As with the rest of Riley's Lozenges series, curvilinear forms compose the print, here, in a palette of tropical colours: cyan, peach, lilac, lavender, jade, and coral.
Riley began making this distinctive series, entitled Lozenges in 1997. Since the 1960s, Riley has worked in series, focusing on a particular formal theme for several years. The curvilinear paintings of the late 1990s and early twenty-first century employ overlapping curved segments, typically in combinations of no more than six colours.
The movement within echoes the cadences of waves rolling on the shore, whilst the shape of the forms is reminiscent of a leaf or petal. Indeed, throughout her artistic career, Riley has continually been inspired by the natural world and its abundance. Although the shapes in From One To The Other are non-representational, like all of Riley’s works, they hint at the shapes and rhythms found in the natural world.
