Untitled (blue)
Untitled (blue)
Signed Print
Bridget Riley
£6,500-£10,000
$12,500-$19,000 Value Indicator
$11,500-$18,000 Value Indicator
¥60,000-¥90,000 Value Indicator
€8,000-€12,000 Value Indicator
$70,000-$100,000 Value Indicator
¥1,240,000-¥1,910,000 Value Indicator
$8,500-$13,500 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: 1978
Size: H 57cm x W 84cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2024 | Brunk Auctions | United States | |||
| August 2022 | Duggleby Stephenson (of York) | United Kingdom | |||
| February 2021 | Rago | United States | |||
| June 2020 | Bonhams Knightsbridge | United Kingdom | |||
| June 2020 | Sworders | United Kingdom | |||
| June 2018 | Bonhams New Bond Street | United Kingdom | |||
| July 2013 | Bonhams New Bond Street | United Kingdom |
Meaning & Analysis
Untitled (blue) (1978) by Bridget Riley was released in a signed edition of 75 screen prints. It is composed of wavy verticals in three pastel shades that, dissolving into one another, seem to generate many new hues— a prismatic illusion inspired by Pointillism’s similar composite approach to colour.
Untitled (blue) features Riley's Waves motif. Lines ripple vertically down the canvas in hues that change at alternating lengths. Despite using just three colours, they merge and bounce off each other, creating a rainbow of varying hues. Each colour choice persists for one and a half wave lengths before merging into a new colour. Whilst viewing Untitled (blue) from a distance, the different shades are perfectly separate and recognisable. Yet, from a distance, they overlap and fuse together. This impression, combined with the evocation of movement within the lines, create mesmerising optical effects, from which the term Op Art takes its name.
The individual components of the canvas are not registered by the viewer. Instead, the work is viewed as a whole ‘field’ in which the resulting visual effect is created by an awareness of all the varying parts of the painting at the same time.
