Elongated Triangles 1
Elongated Triangles 1
Signed Print
Bridget Riley
£9,500-£14,500
$19,000-$28,000 Value Indicator
$17,000-$26,000 Value Indicator
¥90,000-¥140,000 Value Indicator
€11,500-€17,000 Value Indicator
$100,000-$150,000 Value Indicator
¥1,880,000-¥2,870,000 Value Indicator
$12,500-$19,000 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: 1971
Size: H 101cm x W 42cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| July 2022 | Wotton Auction Rooms - United Kingdom | Elongated Triangles 1 - Signed Print | |||
| May 2021 | Il Ponte Auction House, Via Pontaccio - Italy | Elongated Triangles 1 - Signed Print | |||
| July 2020 | Sotheby's London - United Kingdom | Elongated Triangles 1 - Signed Print | |||
| November 2010 | Bonhams New Bond Street - United Kingdom | Elongated Triangles 1 - Signed Print | |||
| June 2009 | Koller Zurich - Switzerland | Elongated Triangles 1 - Signed Print | |||
| June 2009 | Christie's Paris - France | Elongated Triangles 1 - Signed Print | |||
| April 2008 | Ketterer Kunst Hamburg - Germany | Elongated Triangles 1 - Signed Print |
Meaning & Analysis
Elongated Triangles 1, one in a series of six, is exemplar of Bridget Riley’s forays into experimenting with composition, form and colour, and the disorientating effects such elements have on the eye. Composed of triangles arranged in a pattern evoking a backgammon board, Elongated Triangles 1, executed in 1971 and released in an edition of 75, explores the behaviour of interacting shapes and colours.
In this rendition, horizontal lines of blue and a contrasting red, placed at alternate angles, stimulate the viewer’s eyes, creating a dizzying effect. Intent on exploring the divine aspects of art, achieved by sequencing patterns, Riley’s print is meticulously calculated. Even the colour combinations are carefully thought through. Each tone is created in response to the colour it superposes: “I want to create a colour-form, not coloured forms”, Riley states.
