Bagatelle 3
Bagatelle 3
Signed Print
Bridget Riley
£8,000-£11,500
$16,000-$22,000 Value Indicator
$14,000-$20,000 Value Indicator
¥70,000-¥110,000 Value Indicator
€9,500-€14,000 Value Indicator
$80,000-$110,000 Value Indicator
¥1,580,000-¥2,270,000 Value Indicator
$10,000-$14,500 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: 2015
Size: H 67cm x W 59cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2024 | Phillips London - United Kingdom | Bagatelle 3 - Signed Print | |||
| September 2020 | Christie's London - United Kingdom | Bagatelle 3 - Signed Print | |||
| September 2020 | Sotheby's London - United Kingdom | Bagatelle 3 - Signed Print | |||
| June 2020 | Tate Ward Auctions - United Kingdom | Bagatelle 3 - Signed Print | |||
| March 2020 | Christie's London - United Kingdom | Bagatelle 3 - Signed Print | |||
| March 2020 | Sotheby's London - United Kingdom | Bagatelle 3 - Signed Print | |||
| December 2018 | Bonhams New Bond Street - United Kingdom | Bagatelle 3 - Signed Print |
Meaning & Analysis
Bagatelle 3 is a signed screen print from 2015, released in a limited edition of 75. This print is a part of the Bagatelle series by the Op Art artist, Bridget Riley. Bagatelle 3 is exemplary of Riley’s non-representational approach to painting, in which colour, shape and form take precedence. Printed on wove paper Bagatelle 3, the last print in the Bagatelle series, like the other two, represents a configuration of triangles in monochrome.
This optically dazzling print references many concepts that underpinned Riley’s hugely successful art of the 1960s, initially propelling her to fame. Demonstrating Riley’s firm commitment to non-representational painting, the simple forms deconstruct as the viewer’s eye passes over them, placing the subjectivities inherent to the spectatorship of art at the fore. Indeed, the subjective experience of each viewer when regarding a painting was a fundamental step in the creative process, according to Riley. This series of prints is significant in Riley’s oeuvre, representing a final body of monochrome work before the artist began to integrate colour into her practice.
