$24,000-$35,000 Value Indicator
$21,000-$30,000 Value Indicator
¥110,000-¥160,000 Value Indicator
€14,500-€21,000 Value Indicator
$120,000-$180,000 Value Indicator
¥2,350,000-¥3,390,000 Value Indicator
$16,000-$23,000 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.
Signed Print Edition of 75
H 57cm x W 84cm
|Auction Date||Auction House||Artwork|
Return to Seller
|July 2020||Sotheby's London - United Kingdom||Untitled (bronze) - Signed Print|
|June 2016||Bonhams New York - United States||Untitled (bronze) - Signed Print|
|November 2012||Bonhams New Bond Street - United Kingdom||Untitled (bronze) - Signed Print|
|April 2012||Sotheby's New York - United States||Untitled (bronze) - Signed Print|
|April 2008||Sotheby's London - United Kingdom||Untitled (bronze) - Signed Print|
|January 2008||Lyon & Turnbull Edinburgh - United Kingdom||Untitled (bronze) - Signed Print|
|May 2003||Christie's Sydney - Australia||Untitled (bronze) - Signed Print|
Untitled (bronze) (1978) by Bridget Riley was released in a signed edition of 75 screen prints. It is composed of wavy verticals in three warm pastels that, dissolving into one another, seem to generate many new hues— a prismatic illusion inspired by Pointillism’s similar composite approach to colour.
Untitled (bronze), much like Untitled (blue), features Riley's Waves motif. Lines ripple vertically down the canvas in hues that change at alternating lengths. Despite using just three colours, they merge and bounce off each other, creating a rainbow of varying hues. Each colour choice persists for one and a half wave lengths before merging into a new colour at a peak of trough of the wave. Whilst viewing Untitled (bronze) from a distance, the different shades are perfectly separate and recognisable. Yet, from a distance, they overlap and fuse together.
The colours in the composition are intended to be considered as pairs, in cooler or warmer clusters arranged in certain areas of the canvas. Riley used warm hues to evoke a summery, warm feel. Mixed colours were chosen rather than pure ones in order to maximise the interaction between the lines and tones in the eye of the viewer.