Start
Start
Signed Print
Bridget Riley
£7,500-£11,500Value
Indicator
$14,500-$22,000 Value Indicator
$13,000-$20,000 Value Indicator
¥70,000-¥100,000 Value Indicator
€8,500-€13,500 Value Indicator
$70,000-$110,000 Value Indicator
¥1,410,000-¥2,160,000 Value Indicator
$9,500-$14,500 Value Indicator
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, 2000
Signed Print Edition of 200
H 34cm x W 37cm
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Track value trend
Bridget Riley's Start has a highest buyer-paid value of £5,909 in 2022, a jump from the previous sale in 2020, where the buyer-paid value was £4,000. In the last five-year period, the hammer price ranges from £3,200 to £4,580 and a return to the seller ranged from £2,720 to £3,893. This work has sold at various international auction houses, including Germany and Switzerland demonstrating its widespread appeal.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| August 2023 | Bonhams Australia, Sydney - Australia | Start - Signed Print | |||
| February 2023 | Bearnes Hampton & Littlewood - United Kingdom | Start - Signed Print | |||
| June 2022 | Germann Auctions - Switzerland | Start - Signed Print | |||
| February 2022 | Van Ham Fine Art Auctions - Germany | Start - Signed Print | |||
| September 2020 | Sotheby's London - United Kingdom | Start - Signed Print | |||
| June 2018 | Stair Galleries - United States | Start - Signed Print | |||
| June 2016 | Koller Zurich - Switzerland | Start - Signed Print |
Meaning & Analysis
Start (2000), a signed screen print by Bridget Riley, was released in an edition of 200. In accordance with Riley’s Lozenges series, sweeping, organic shapes undulate in a movement inspired by nature. Its palette comprises analogous colours—green, blue and yellow—interspersed with white and grey.
Start is composed of sweeping, serpentine shapes in three vibrant colours, as well as white and a light grey tone: a chromatic intermediary between white and black. The interlocking forms are redolent of movement or the undulations of the natural world. Although consistently abstract, Riley’s works remain grounded in natural experiences, predominantly from her adolescence spent in Cornwall. Riley confesses that the ever-changing Cornish seas and skies stimulated her vision, the sensations of which she seeks to recreate in non-representational painting.
Riley regards colour as capable of eliciting emotional responses in the observer. Hence, the artist revels in exploring the visual and emotional effects of certain colour combinations, and Start is no exception. Moreover, colour is declaratively interactive within Riley’s work: each hue appears to change in pitch and tone depending on its neighbours. Far removed from Riley’s monochromatic origins in the 1960s, Riley’s Lozenges series sees the abstract artist at her most confident with colour.
