June
June
Signed Print
Bridget Riley
£15,000-£23,000
$29,000-$45,000 Value Indicator
$27,000-$40,000 Value Indicator
¥140,000-¥220,000 Value Indicator
€18,000-€27,000 Value Indicator
$150,000-$230,000 Value Indicator
¥2,970,000-¥4,560,000 Value Indicator
$19,000-$30,000 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: 75
Year: 1992
Size: H 102cm x W 135cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2020 | Christie's London - United Kingdom | June - Signed Print | |||
| September 2019 | Christie's London - United Kingdom | June - Signed Print | |||
| September 2017 | Christie's London - United Kingdom | June - Signed Print | |||
| April 2014 | Christie's London - United Kingdom | June - Signed Print | |||
| March 2010 | Sotheby's London - United Kingdom | June - Signed Print |
Meaning & Analysis
June is a signed screen print by Bridget Riley, released in 1992 as an edition of 75. One of Riley's Zig / Rhomboid works, June’s individual title contextualises the bright, warm colour palette, which, with its floral pinks and rich blues, evokes summer in full bloom and blue skies.
Across her oeuvre, Riley teases out the different energies inherent in varying tonalities, delighting in the push-and-pull created through the juxtaposition of competing colours, and June is no exception. Being non-representational, Riley’s titles hint at the inspiration behind the conception of her artworks.
In the Zig / Rhomboid collection of works, Riley began to cross her iconic horizontal stripes of her earlier striped works with short diagonal elements: another evolution in her non-representational, abstract art practice. Upon creating this new rhomboid form, Riley claims a “whole new field of relationships opened up”. When first exhibited, many interpreted the forms as painterly strokes, enlarged and formalised, deriving from Georges Seurat, who was a great source of inspiration for Riley. Indeed, the integration of these forms by Riley was in part an attempt to rediscover pictorial craftsmanship.
