Fragment 4
Fragment 4
Signed Print
Bridget Riley
£40,000-£60,000
$80,000-$120,000 Value Indicator
$70,000-$110,000 Value Indicator
¥360,000-¥550,000 Value Indicator
€50,000-€70,000 Value Indicator
$390,000-$590,000 Value Indicator
¥7,770,000-¥11,650,000 Value Indicator
$50,000-$80,000 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: 1965
Size: H 71cm x W 69cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2023 | Christie's New York | United States | |||
| September 2021 | Sotheby's Online | United Kingdom | |||
| March 2021 | Cottone Auctions | United States | |||
| March 2017 | Christie's London | United Kingdom | |||
| July 2013 | Bonhams New Bond Street | United Kingdom | |||
| October 2006 | Bonhams San Francisco | United States | |||
| April 2006 | Bonhams San Francisco | United States |
Meaning & Analysis
Fragment 4 (1965), by British Op-Artist Bridget Riley, was released in a signed edition of 75 screen prints. Redolent of binary code, Riley constructs a grid of zeroes only to skew the number with each repetition, creating a shifting illusion that defies any impression of regularity.
Achieving notoriety with her use of black and white, this print and the series it derives from is seminal in Riley’s oeuvre, demonstrating the artist's ability to disorient viewers by using the simplest of geometric forms.
Riley experiments with basic structural units in her works to explore the physical and psychological responses of the eyes. The strain the viewer's eyes are placed under when trying to focus on this work frustrates the viewer: Riley’s works do not enable the eyes to settle but leave them frantically trying to adjust to what they are witnessing. Deceptively simple, great complexity lurks beneath the surface of these works as they are the result of lengthy preparatory sketching and planning.
