Untitled (Based On Primitive Blaze)
Untitled (Based On Primitive Blaze)
Signed Print
Bridget Riley
£45,000-£70,000
$90,000-$130,000 Value Indicator
$80,000-$120,000 Value Indicator
¥410,000-¥640,000 Value Indicator
€50,000-€80,000 Value Indicator
$440,000-$690,000 Value Indicator
¥8,830,000-¥13,730,000 Value Indicator
$60,000-$90,000 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: 40
Year: 2006
Size: H 46cm x W 46cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Bonhams New Bond Street - United Kingdom | Untitled (Based On Primitive Blaze) - Signed Print | |||
| April 2021 | Christie's London - United Kingdom | Untitled (Based On Primitive Blaze) - Signed Print | |||
| April 2011 | Phillips New York - United States | Untitled (Based On Primitive Blaze) - Signed Print |
Meaning & Analysis
Untitled (Based On Primitive Blaze) is a signed screen print produced by Bridget Riley in 1962. This print is one of the artist’s earliest works and captures the start of the artist’s successful career. In the print, Riley creates a fascinating pattern composed of zig zagging black lines. A circle is rendered in the centre of the composition and thick black zig zags emanate from the centre of the circle. The pattern is mesmerising and encourages the viewer to look closely at its formation.
Untitled (Based On Primitive Blaze) captures Riley’s artistic philosophy that complexity lurks beneath the surface of simplicity. While the shapes that Riley uses are simple geometric shapes, the way in which the artist puts these shapes together in her compositions produces a fascinating optical effect which means the prints evoke a sense of movement.
This print showcases the way in which Riley’s early works explore the interplay of shape, line and light to create the illusion of movement. Riley’s works have been described using the term Op Art (short for optical art) as they often involve shapes, colours and patterns which are arranged in precise compositions to make the images look like they are blurred or moving.