£18,000-£27,000 VALUE (EST.)
$35,000-$50,000 VALUE (EST.)
$30,000-$45,000 VALUE (EST.)
¥150,000-¥230,000 VALUE (EST.)
€20,000-€30,000 VALUE (EST.)
$170,000-$260,000 VALUE (EST.)
¥2,920,000-¥4,380,000 VALUE (EST.)
$22,000-$35,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 26
H 29cm x W 29cm
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Jasper Tordoff, Acquisition Coordinator
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2012||Christie's London - United Kingdom||Untitled (Based On Movement In Squares) - Signed Print|
|July 2009||Bonhams New Bond Street - United Kingdom||Untitled (Based On Movement In Squares) - Signed Print|
|April 2007||Christie's London - United Kingdom||Untitled (Based On Movement In Squares) - Signed Print|
|April 2006||Bonhams San Francisco - United States||Untitled (Based On Movement In Squares) - Signed Print|
Untitled (Based on Movement in Squares) (1962) by Op-Artist Bridget Riley, was released in a signed edition of 26 screen-prints. After Riley’s seminal 1961 painting, a monochrome checkerboard seemingly disappears into a vertical fold. It marks the exposition of Riley’s experimentation with geometry, space, movement, and optical illusion.
Riley credits Movement In Squares, which this print is based on, as the beginning of her career-long exploration into geometric form, spatial dynamics and Movement. Its rhythm evokes the meeting of two forms, such as in a kiss or embrace. The two flat planes appear to vanish upon a line of implied contact, created by alternating black and white squares reducing in width as they converge.
Generating a sensation of restless movement, Untitled (Movement In Squares) led to Riley being lauded as an ‘Op Art’ pioneer. ‘Op Art’ takes its name from the optically distorting and dizzying effects the artworks have on the viewer, much like optical illusions. This breakthrough work, created with a staggeringly simple technique, is an attempt on behalf of the artist to recreate the wonder of seeing, without resorting to using representational imagery.