La Lune En Rodage
La Lune En Rodage
Signed Print
Bridget Riley
£12,500-£19,000
$25,000-$35,000 Value Indicator
$22,000-$35,000 Value Indicator
¥110,000-¥170,000 Value Indicator
€15,000-€22,000 Value Indicator
$120,000-$180,000 Value Indicator
¥2,400,000-¥3,640,000 Value Indicator
$15,000-$23,000 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: 200
Year: 1965
Size: H 30cm x W 29cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2024 | Grisebach | Germany | |||
| May 2024 | Sotheby's Online | United Kingdom | |||
| May 2024 | Sotheby's Online | United Kingdom | |||
| December 2023 | Bonhams New Bond Street | United Kingdom | |||
| June 2023 | Phillips London | United Kingdom | |||
| March 2023 | Sotheby's Online | United Kingdom | |||
| March 2023 | Sotheby's Online | United Kingdom |
Meaning & Analysis
La Lune En Rodage is a black and white screen print executed by British artist Bridget Riley in 1965 from an edition edition run of 200, with an additional 20 artist proofs. It is composed simply of black horizontal lines of equal length, yet, in true Riley fashion, the effects of such simplicity are complex. The lines, as they move from top to bottom, slowly merge from being concave to convex. Consequently, the black lines appear to oscillate, like waves, across the surface of the print.
Enacted with geometrical precision, Riley creates compelling visual effects that play with one’s vision and implore the viewer to question what they are looking at. During her career, Riley has experimented with simple, structural units in varying configurations, to explore the physical and psychological responses of the eyes. Throughout this, Riley’s artistic motivation has remained the same: to interrogate what and how we see things. La Lune En Rodage is, if anything, abundantly aware of being nothing more than the geometry of the paper’s flat surface.
Executed in 1965, this work is from a critical period in Riley’s decades-long career. Following the artist’s inclusion in The Responsive Eye, an exhibition at the Museum of Modern Art in New York, Riley gained international acclaim for exclusively monochromatic works that played optical tricks on the eye: of which La Lune En Rodage is a prime example.