Bridget Riley

£11,500-£17,000Value
Indicator

$22,000-$35,000 Value Indicator

$20,000-$29,000 Value Indicator

¥110,000-¥160,000 Value Indicator

€13,500-€20,000 Value Indicator

$110,000-$170,000 Value Indicator

¥2,180,000-¥3,230,000 Value Indicator

$14,500-$22,000 Value Indicator

35% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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The value of Bridget Riley's Passing By (signed) is estimated to be worth between £11,500 and £17,000. This screenprint, created in 2005, has shown strong value growth, with an impressive average annual growth rate of 34%. This is a rare artwork with an auction history of three total sales since its entry to the market on 6th July 2017. In the last 12 months, the hammer price has ranged from £7,937 in September 2022 to £9,425 in June 2022. The average return to the seller is £6,859 and the edition size of this artwork is limited to 75.

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.