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New Day - Signed Print by Bridget Riley 1992 - MyArtBroker

New Day
Signed Print

Bridget Riley

£22,000-£35,000Value Indicator

$45,000-$70,000 Value Indicator

$40,000-$60,000 Value Indicator

¥210,000-¥340,000 Value Indicator

€25,000-€40,000 Value Indicator

$230,000-$370,000 Value Indicator

¥4,370,000-¥6,940,000 Value Indicator

$30,000-$45,000 Value Indicator

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94 x 136cm, Edition of 135, Screenprint

Medium: Screenprint

Edition size: 135

Year: 1992

Size: H 94cm x W 136cm

Signed: Yes

Format: Signed Print

Last Auction: December 2024

Value Trend:

36% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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6 in network
10 want this
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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
December 2024
Forum Auctions London
United Kingdom
$28,000
$35,000
$40,000
April 2023
Sotheby's New York
United States
September 2021
Bonhams New Bond Street
United Kingdom
March 2021
Sotheby's London
United Kingdom
September 2019
Phillips London
United Kingdom
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The value of Bridget Riley’s New Day (signed) is estimated to be worth between £22,000 and £35,000. Over the past 12 months, the artwork has sold once, with an average selling price of £26,000. This screenprint has shown consistent value growth, with an impressive average annual growth rate of 36%. This work has a steady auction history, having been sold 5 times since its initial sale in September 2019. The edition size of this artwork is limited to 135.

Created with Highcharts 11.4.8Sep 2019Jul 2020Jun 2021May 2022Mar 2023Jan 2024Dec 2024$22,500$25,000$27,500$30,000$32,500$35,000$37,500$40,000© MyArtBroker

Meaning & Analysis

Executed in the 1980s and 1990s, the Zig/Rhomboid works evolved from the previously harmonious order of stripes as Riley sought to find new ways to generate interactions between colours. Even more dynamic and complex, these shapes straddle two-dimensionality and three-dimensionality, creating a sensation of motion that the static, horizontal-line works lacked. By fashioning this innovative rhomboid form Riley claims a “whole new field of relationships opened up”.

A seismic shift occurred in Riley’s practice in 1967 as she introduced colour into her works. Now, her focus was on the effect of varying colour combinations and the potential for narrative and emotion that this brings, concerned less with constructing optical illusions. Here, the colours tell the narrative of a sunrise heralding a ‘new day’: Riley’s titles inform the viewer of the content, which is never apparent given their non-representational nature. Hence, New Day, as well as other similar works represents Riley’s ongoing experimentations with colour, shape and form, adding to a complex oeuvre that demonstrates a long-standing fascination for the physical processes of perception.