$60,000-$90,000 Value Indicator
$50,000-$80,000 Value Indicator
¥270,000-¥400,000 Value Indicator
€35,000-€50,000 Value Indicator
$290,000-$440,000 Value Indicator
¥5,630,000-¥8,450,000 Value Indicator
$40,000-$60,000 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 135
H 80cm x W 110cm
The highest buyer-paid value for Bridget Riley's New Day is £15,120 in 2021. This is a rare artwork with three total sales, the first appearing in 2019 out of an edition of 135. The sales are varied, and the hammer price ranges from £6,500 to £12,096, and the return to the seller for the artwork ranges from £5,525 to £10,282. This artwork has sold at various auction houses in London.
|Auction Date||Auction House||Artwork|
Return to Seller
|April 2023||Sotheby's New York - United States||New Day - Signed Print|
|September 2021||Bonhams New Bond Street - United Kingdom||New Day - Signed Print|
|March 2021||Sotheby's London - United Kingdom||New Day - Signed Print|
|September 2019||Phillips London - United Kingdom||New Day - Signed Print|
New Day is a signed screen print by Bridget Riley, released in 1988 in an edition of 135 as part of Riley’s Zig / Rhomboid series. By layering smaller rhomboids in the foreground, and over borders between larger forms, Riley creates abstract depth within and movement across the print’s plane.
Executed in the 1980s and 1990s, the Zig/Rhomboid works evolved from the previously harmonious order of stripes as Riley sought to find new ways to generate interactions between colours. Even more dynamic and complex, these shapes straddle two-dimensionality and three-dimensionality, creating a sensation of motion that the static, horizontal-line works lacked. By fashioning this innovative rhomboid form Riley claims a “whole new field of relationships opened up”.
A seismic shift occurred in Riley’s practice in 1967 as she introduced colour into her works. Now, her focus was on the effect of varying colour combinations and the potential for narrative and emotion that this brings, concerned less with constructing optical illusions. Here, the colours tell the narrative of a sunrise heralding a ‘new day’: Riley’s titles inform the viewer of the content, which is never apparent given their non-representational nature. Hence, New Day, as well as other similar works represents Riley’s ongoing experimentations with colour, shape and form, adding to a complex oeuvre that demonstrates a long-standing fascination for the physical processes of perception.