Edge Of Light
Edge Of Light
Signed Print
Bridget Riley
£20,000-£30,000Value
Indicator
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥180,000-¥280,000 Value Indicator
€23,000-€35,000 Value Indicator
$200,000-$300,000 Value Indicator
¥3,780,000-¥5,670,000 Value Indicator
$26,000-$40,000 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: 85
Year: 1981
Size: H 106cm x W 90cm
Signed: Yes
Format: Signed Print
TradingFloor
MyPortfolio
Your collection tracked in real time.
Build your portfolio, manage valuations, view return against your collection and watch works you're looking for.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2020 | Sotheby's London - United Kingdom | Edge Of Light - Signed Print | |||
| November 2014 | Germann Auctions - Switzerland | Edge Of Light - Signed Print | |||
| January 2007 | Lyon & Turnbull Edinburgh - United Kingdom | Edge Of Light - Signed Print | |||
| May 2006 | Christie's New York - United States | Edge Of Light - Signed Print |
Meaning & Analysis
Edge Of Light by Bridget Riley is a signed screen print which was released in 1981 in an edition of 85. Composed of several pastel-hued colours, black stripes appear at semi-regular intervals in Edge of Light to contain and break the orchestrated, horizontal colour scheme. White is also used to create both ‘pauses and clearances’, This also accentuates the vibrant accents of the other hues. Like Riley’s other works featuring stripes, the form and composition is simple, yet the results are profoundly moving. Impersonal, and seemingly unrelated to the world, these works are grounded in geometric abstraction. However, there is latent meaning embedded within: the work is never intended to be an end in itself, but a medium through which each viewer has a subjective experience, influenced by their own understandings.
By experimenting with basic structural units, such as vertical stripes, in her works, Riley explores the physical and psychological responses of the eyes, and the effects colour can have on emotions. In this sense, the selected colour palette is vital to and intensifies the visual effect of the work.
