Fête
Fête
Signed Print
Bridget Riley
£40,000-£60,000
$80,000-$120,000 Value Indicator
$70,000-$100,000 Value Indicator
¥360,000-¥540,000 Value Indicator
€45,000-€70,000 Value Indicator
$390,000-$590,000 Value Indicator
¥7,610,000-¥11,420,000 Value Indicator
$50,000-$80,000 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: 60
Year: 1989
Size: H 66cm x W 87cm
Signed: Yes
Format: Signed Print
TradingFloor
MyPortfolio
Your collection tracked in real time.
Build your portfolio, manage valuations, view return against your collection and watch works you're looking for.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2005 | James Adam & Sons - Ireland | Fête - Signed Print | |||
| March 2005 | Bonhams New Bond Street - United Kingdom | Fête - Signed Print | |||
| June 2004 | Christie's London - United Kingdom | Fête - Signed Print |
Meaning & Analysis
Composed of twenty vertical bands of colour, the surface of Fête is broken up by small parallelograms cutting across the upright bands, with no discernible pattern to their organisation. The title, Fête, taken from the French word for ‘celebration’, could also refer to the traditional outdoor events held in British villages during the summer. Riley confesses she names her works retrospectively, selecting names which draw on “memories of sensations in the past which have some sort of correspondence with those in the painting”.
The design of Fête relates to other works featuring zigs or rhomboids which Riley produced between 1986 and 1997. All the works included similarly feature vertical bands combined with diagonally orientated areas of contrasting colour. Moving away from the lines and geometric shapes that defined her earlier works, in the Zig/ Rhomboid works, distinctions between colour and shape fall away, each leaning on the other for definition within the same plane.
