Untitled, Oval Image
Untitled, Oval Image
Signed Print
Bridget Riley
£60,000-£90,000
$120,000-$170,000 Value Indicator
$110,000-$160,000 Value Indicator
¥550,000-¥830,000 Value Indicator
€70,000-€110,000 Value Indicator
$600,000-$900,000 Value Indicator
¥11,490,000-¥17,240,000 Value Indicator
$80,000-$120,000 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: 50
Year: 1964
Size: H 75cm x W 34cm
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 | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Phillips London - United Kingdom | Untitled, Oval Image - Signed Print | |||
| June 2010 | Stair Galleries - United States | Untitled, Oval Image - Signed Print | |||
| March 2004 | Bonhams New Bond Street - United Kingdom | Untitled, Oval Image - Signed Print |
Meaning & Analysis
Untitled, Oval Image is a signed screen print produced by Bridget Riley in 1964. The print depicts a black and white composition showing an oval filled with concentric oval outlines. The ovals emanate from a central shape in the middle of the composition and the meticulous arrangement creates a striking sense of movement.
This print is one of the earlier works made by Riley, created before the artist had achieved critical, international acclaim. Riley rose to fame following a display of several of her black and white prints, much like Untitled, Oval Image. The works were displayed at the Museum of Modern Art in New York in 1965 as part of their Representative Eye exhibition. People were captivated by Riley’s use of black and white and the way in which the artist was able to produce optically dazzling, psychedelic works which, at times, seemed like optical illusions.
Riley’s early works are characterised by a limited colour palette, with the artist privileging black and white. When seen alongside some of Riley’s later works, this print captures the development of Riley’s visual language and artistic style. Riley began experimenting with colour in the late 1960s and the artist became fascinated with the way in which colour can have an impact on perceptions and emotions. Unlike her early works, colour is an important element of Riley’s later artistic endeavours.