Passing By
Passing By
Signed Print
Bridget Riley
£9,000-£13,000 VALUE (EST.)
$18,000-$25,000 VALUE (EST.)
$15,000-$22,000 VALUE (EST.)
¥80,000-¥120,000 VALUE (EST.)
€10,500-€15,000 VALUE (EST.)
$90,000-$130,000 VALUE (EST.)
¥1,660,000-¥2,390,000 VALUE (EST.)
$11,000-$16,000 VALUE (EST.)
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.
Screenprint, 2005
Signed Print Edition of 75
H 28cm x W 84cm
Your collection tracked in realtime.
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
Track value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Phillips London - United Kingdom | Passing By - Signed Print | |||
| June 2022 | Phillips London - United Kingdom | Passing By - Signed Print | |||
| July 2017 | Forum Auctions London - United Kingdom | Passing By - Signed Print |
Meaning & Analysis
Passing By (2006), by British Op-Artist Bridget Riley, was released in a signed edition of 75 screen prints. Though non-representational, it was inspired by formative experiences of Cornish countryside: the organic forms of the Lozenges series are coloured in grassy green, sky blue, and wildflower pink and lilac.
In the late 1990s, Riley began working on a series of paintings in which curved blocks of colour were positioned using an underlying grid of verticals and diagonals that moved in parallel across the surface. Of this form, Riley has said it is “wonderfully fluid, supple and strong, it can twist and bend, flow and sway, sometimes with the diagonal, sometimes against, so that the tempo is either accelerated or held back, delayed”.
Passing By, despite being non-representational in its degree of abstraction, is reminiscent of Riley’s childhood experiences of growing up in the natural beauty of the Cornish countryside. Additionally, with an interest in colour and shape, Riley adopted the curved form to permit this. Through using basic geometry to explore visual relationships between figure and ground, Riley planned extensively with scaled drawings and paper models in the lead up to the execution of the final work.
