Bagatelle 2
Bagatelle 2
Signed Print
Bridget Riley
£11,500-£17,000Value
Indicator
$22,000-$30,000 Value Indicator
$20,000-$29,000 Value Indicator
¥100,000-¥150,000 Value Indicator
€13,500-€20,000 Value Indicator
$110,000-$170,000 Value Indicator
¥2,140,000-¥3,170,000 Value Indicator
$14,500-$22,000 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.
Screenprint, 2015
Signed Print Edition of 75
H 52cm x W 82cm
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Track auction value trend
The value of Bridget Riley's Bagatelle 2 (signed) is estimated to be worth between £11,500 to £17,000. This screenprint artwork, created in 2015, has seen a total of 2 sales at auction to date. The hammer price has been consistent at £7,000 as of 16th March 2022. Sellers have enjoyed an average return of £5,950, with the artwork demonstrating a strong average annual growth rate of 22%. The first sale at auction was on 26th June 2018. The edition size of Bagatelle 2 is limited to just 75, making it a valuable addition to any art collection.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2018 | Bonhams New Bond Street - United Kingdom | Bagatelle 2 - Signed Print |
Meaning & Analysis
Bagatelle 2 is a signed screen print by the renowned Op Art pioneer Bridget Riley. Executed in 2015 and released in a limited edition of 75, Bagatelle 2 is composed of triangles that appear to zig-zag across the page. Wavy lines along the edges of several triangles create movement and the sense of vibration: it is this suggestion of movement that has led Op Art to also be called Kinetic Art. Bagatelle 2 is an important work in Riley’s oeuvre and, executed in 2015, is a nod to the black and white works of her early career for which she first gained recognition.
Bagatelle 2 is typical of Riley’s work, which explores the dynamic potentialities of optical phenomena. Less dizzying than other prints, Bagatelle 2 still succeeds in disorientating the viewer, as the two-dimensional, triangular shapes appear in motion on the canvas. Riley’s compositions are the result of meticulous measurements and preparatory sketches, which are then given to her assistants who paint the artworks under Riley’s strict instruction. Riley relies heavily on these preparation stages, particularly drawing, recognising it as “an exercise in looking”. The intense, controlled precision of Riley’s art and its formal logic seem to allow for a wild, synaesthetic freedom.
