Fragment 5
Fragment 5
Signed Print
Bridget Riley
£27,000-£40,000
$50,000-$80,000 Value Indicator
$45,000-$70,000 Value Indicator
¥250,000-¥370,000 Value Indicator
€30,000-€45,000 Value Indicator
$270,000-$400,000 Value Indicator
¥5,410,000-¥8,010,000 Value Indicator
$35,000-$50,000 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: 1965
Size: H 61cm x W 80cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2023 | Sotheby's New York - United States | Fragment 5 - Signed Print | |||
| April 2022 | Doyle New York - United States | Fragment 5 - Signed Print | |||
| April 2021 | Sworders - United Kingdom | Fragment 5 - Signed Print | |||
| September 2020 | Sotheby's London - United Kingdom | Fragment 5 - Signed Print | |||
| July 2020 | Phillips New York - United States | Fragment 5 - Signed Print | |||
| October 2019 | Bonhams New Bond Street - United Kingdom | Fragment 5 - Signed Print | |||
| March 2018 | Sotheby's London - United Kingdom | Fragment 5 - Signed Print |
Meaning & Analysis
Fragment 5, a signed print in an edition of 75, constitutes Riley’s iconic Fragment series, in which the pioneering artist utilises exclusively black and white geometric shapes to explore the physical and psychological responses of the eyes. Creating a sense of movement, or distortion, the patterns seem to vibrate, swell or warp.
In Fragment 5, curved lines expand and decrease in width at opposing points, creating a swelling, circular form. By creating these works on plexiglass, Riley was intent on creating rich, black geometric forms on a dazzlingly white surface, heightening the optical effects of her geometric forms.
Now considered one of the most innovative modern artists, Riley’s ground-breaking mode of painting was initially received with fervent popularity in 1965 when she exhibited such works at The Responsive Eye at the New York Museum of Modern Art. This exhibition, propelling ‘Op Art’ into the limelight, attracted wide attention for Riley and her dizzying works.
