Fragment 2
Fragment 2
Signed Print
Bridget Riley
£26,000-£40,000Value
Indicator
$50,000-$80,000 Value Indicator
$45,000-$70,000 Value Indicator
¥230,000-¥360,000 Value Indicator
€30,000-€45,000 Value Indicator
$260,000-$400,000 Value Indicator
¥4,860,000-¥7,480,000 Value Indicator
$35,000-$50,000 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, 1965
Signed Print Edition of 75
H 71cm x W 69cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2023 | Christie's New York - United States | Fragment 2 - Signed Print | |||
| July 2021 | Forum Auctions London - United Kingdom | Fragment 2 - Signed Print | |||
| July 2020 | Sotheby's New York - United States | Fragment 2 - Signed Print | |||
| July 2020 | Forum Auctions London - United Kingdom | Fragment 2 - Signed Print | |||
| October 2019 | Sotheby's New York - United States | Fragment 2 - Signed Print | |||
| September 2019 | Forum Auctions London - United Kingdom | Fragment 2 - Signed Print | |||
| October 2017 | Sotheby's New York - United States | Fragment 2 - Signed Print |
Meaning & Analysis
Fragment 2 is one of seven works constituting Bridget Riley’s Fragment series, in which varying geometrical configurations are presented in monochrome. Released in 1965, this signed screen print comes in an edition of 75. Fragment 2 is constructed with crescent moon shapes in various sizes and orientations, becoming smaller in size towards the centre of the canvas, creating a disorientating visual effect: typical of Riley’s Op Art work.
Entirely non-representational, Riley experiments with simple, structural units in her works, in varying configurations, to explore the physical and psychological responses of the eyes. Now 91, having worked for over six decades, Riley’s motive has remained the same: to interrogate what and how we see things. Creating visually disruptive black and white paintings, Riley actively engages the viewer’s perception.
