$50,000-$80,000 Value Indicator
$50,000-$70,000 Value Indicator
¥250,000-¥360,000 Value Indicator
€30,000-€45,000 Value Indicator
$270,000-$390,000 Value Indicator
¥5,280,000-¥7,540,000 Value Indicator
$35,000-$50,000 Value Indicator
This estimate blends recent public auction records with our own private sale data and network demand.
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Signed Print Edition of 75
H 87cm x W 76cm
Bridget Riley's RA 2 has sold twice at auction according to our data, one of which occured in the last five-year period. The sales demonstrate an increase in value where the buyer paid £10,080 in 2017 and £13,750 in 2020. The hammer prices were £8,000 and £11,000, and the return to the seller was 17% of the hammer. The two sales demonstrate the rarity of this artwork, and both took place in London.
|Auction Date||Auction House||Artwork|
Return to Seller
|March 2020||Sotheby's London - United Kingdom||RA 2 - Signed Print|
|December 2017||Forum Auctions London - United Kingdom||RA 2 - Signed Print|
RA 2 is a signed screen print, produced by Op artist Bridget Riley in 1981. The print depicts a composition of successive vertical stripes rendered in bright colours. Blue, orange, green and red dominate the composition and the variation of colour and thickness amongst the lines makes this print very optically stimulating. The use of colour in this print captures Riley’s interest in colour and her fascination with the way in which it can elicit an emotional response in the viewer.
The print belongs to Riley’s Stripes collection which the artist started in 1971. The collection is composed of a series of prints, all of which depict formulaic patterns of successive lines, either horizontal, vertical or diagonal. While Riley rose to fame with her notable black and white paintings, the artist decided to explore the use of colour in the mid-1960s and cites artists such as Henri Matisse and Georges Saurat as important influences on the development of her artistic style.
Discussing the Stripes collection and why she chose such simple line patterns, Riley explains, “If I want to make colour a central issue, I had to give up the complexities of form with which I had been working. In the straight line I had one of the most fundamental forms”.