Start
Start
Signed Print
Bridget Riley
£5,000-£7,500
$10,500-$16,000 Value Indicator
$9,000-$14,000 Value Indicator
¥50,000-¥70,000 Value Indicator
€6,000-€9,000 Value Indicator
$50,000-$80,000 Value Indicator
¥980,000-¥1,470,000 Value Indicator
$7,000-$10,000 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: 200
Year: 2000
Size: H 34cm x W 37cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2024 | Bonhams Knightsbridge | United Kingdom | |||
| July 2024 | Chiswick Auctions | United Kingdom | |||
| June 2024 | Germann Auctions | Switzerland | |||
| December 2023 | Neumeister | Germany | |||
| August 2023 | Bonhams Australia, Sydney | Australia | |||
| February 2023 | Bearnes Hampton & Littlewood | United Kingdom | |||
| June 2022 | Germann Auctions | Switzerland |
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.
