$45,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥220,000-¥320,000 Value Indicator
€28,000-€40,000 Value Indicator
$240,000-$340,000 Value Indicator
¥4,520,000-¥6,590,000 Value Indicator
$30,000-$45,000 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.
Signed Print Edition of 75
H 61cm x W 79cm
Bridget Riley's Fragment 3 highest buyer paid value over the last five-year period was £44,100. The hammer price of the artwork generally falls within the £20,000 to £35,000 range, with sales taking place at various auction houses. The return to the seller is generally £4,000 to £5,000 below the hammer price, ranging from £20,000 to £30,000. One uncharacteristically low sale occurred in September 2022, where the buyer paid £8,820, likely due to a low-quality print. The location of these sales was in the United Kingdom, showing a strong market for Bridget Riley’s work.
|Auction Date||Auction House||Artwork|
Return to Seller
|September 2023||Christie's London - United Kingdom||Fragment 3 - Signed Print|
|September 2022||Christie's London - United Kingdom||Fragment 3 - Signed Print|
|September 2022||Sotheby's Online - United Kingdom||Fragment 3 - Signed Print|
|March 2022||Bonhams New Bond Street - United Kingdom||Fragment 3 - Signed Print|
|September 2021||Sotheby's Online - United Kingdom||Fragment 3 - Signed Print|
|April 2021||Sworders - United Kingdom||Fragment 3 - Signed Print|
|November 2017||Doyle New York - United States||Fragment 3 - Signed Print|
Fragment 3 is one of seven works comprising Bridget Riley’s Fragment series, in which geometric, repeated forms are presented in black and white. Released in 1965, this signed screen print comes in an edition of 75.
Creating a dizzying effect on the viewer, the patterns appear to oscillate and vibrate on the two-dimensional surface. In Fragment 3, a chevron form is repeated, with the angles of each chevron warped at different angles. As the pattern seems to move across the page, the viewer is disorientated: typical of Riley’s monochromatic, illusionistic works.
Keen to stimulate the viewer's imagination and query the act of perception, Riley’s iconic style explores the dynamic potentialities of optical phenomena. These zingy, geometric designs seek to recreate the sensational effects felt when regarding natural phenomena: dazzling sunlight or waves rippling on the shore, in non-representational compositions. It is through these black and white paintings that Riley achieved notoriety: only after fifteen years did the artist employ the use of colour.