$21,000-$30,000 Value Indicator
$19,000-$27,000 Value Indicator
¥100,000-¥140,000 Value Indicator
€13,000-€19,000 Value Indicator
$110,000-$160,000 Value Indicator
¥2,040,000-¥2,970,000 Value Indicator
$14,000-$20,000 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.
Format: Signed Print
Size: H 57cm x W 57cm
Edition size: 125
Bridget Riley's Coloured Greys 2 (signed), a screenprint from 1972, is estimated to be worth £11,000 to £16,000. This artwork has been sold at auction seven times since its initial sale in June 2004. Over the last five years, the hammer price has been consistent at £9,500, with an average annual growth rate of 44%. In the last 12 months, the artwork sold once for a price of £9,500. The edition size of this artwork is limited to 125.
|Auction Date||Auction House||Artwork|
Return to Seller
|June 2023||Phillips London - United Kingdom||Coloured Greys 2 - Signed Print|
|June 2018||Bonhams New Bond Street - United Kingdom||Coloured Greys 2 - Signed Print|
|April 2013||Christie's London - United Kingdom||Coloured Greys 2 - Signed Print|
|September 2008||Christie's London - United Kingdom||Coloured Greys 2 - Signed Print|
|May 2008||Sotheby's London - United Kingdom||Coloured Greys 2 - Signed Print|
|November 2007||Sotheby's London - United Kingdom||Coloured Greys 2 - Signed Print|
|October 2004||Christie's London - United Kingdom||Coloured Greys 2 - Signed Print|
A rare and intriguing piece, Coloured Greys 2 was amongst American artist Bridget Riley’s earliest attempts at print making. The signed screen print, produced in 1972, sits within a transitional moment in the artist’s career, whereby the influence of Riley’s earlier monochromatic works is retained both in the dim tones of the print and in its title, whilst also simultaneously gesturing towards the artist’s upcoming venturing within the vibrancy and forcefulness of primary colours – which will later characterise her practice and for which she is best known to the public.
The print plays upon Riley’s consideration of art as a form of optical science, an idea which the artist acquired during her fine art education, and which had come down to her from the works of Pointillist French artist Georges Seurat. Like Seurat, Riley developed a striking interest in the ways in which the formal elements of painting, colour and form, which together conjoin to create an artistic narrative, could be dissected, abstracted and used to induce different optical illusions and manipulations of the viewer’s visual field, thereby activating the artwork through an illusory sensation of movement. The repetition of the horizontal geometrical pattern mischievously induces in the beholder the sensation that the lines are moving, a technique which also endows the art piece with a sense of dynamism and three-dimensionality.