Nineteen Greys D
Nineteen Greys D
Signed Print
Bridget Riley
£9,000-£13,500
$18,000-$26,000 Value Indicator
$16,000-$24,000 Value Indicator
¥80,000-¥120,000 Value Indicator
€11,000-€16,000 Value Indicator
$90,000-$130,000 Value Indicator
¥1,770,000-¥2,660,000 Value Indicator
$11,500-$17,000 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: 1968
Size: H 76cm x W 76cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2022 | Doyle Auctioneers & Appraisers - United States | Nineteen Greys D - Signed Print | |||
| March 2015 | Sotheby's London - United Kingdom | Nineteen Greys D - Signed Print | |||
| September 2011 | Christie's London - United Kingdom | Nineteen Greys D - Signed Print | |||
| May 2011 | Aspire Auctions - United States | Nineteen Greys D - Signed Print | |||
| June 2007 | Artcurial - France | Nineteen Greys D - Signed Print | |||
| April 2003 | Doyle Auctioneers & Appraisers - United States | Nineteen Greys D - Signed Print |
Meaning & Analysis
This signed screen print by Bridget Riley was released in 1968 in an edition of 75. The last of four screen prints in the Nineteen Greys series, Nineteen Greys D, presents ovals varying in tone from white the light grey set against a blueish-grey background. Slanting at various angles across the page, the variance in tone creates a V shape towards the bottom of the composition. The introduction of grey into this series marked a new phase in the artist’s body of work, moving on from the exclusively black and white works of previous years.
Exploring the effects of contrasting warm and cold greys, Riley, much like in her other works, manipulates shape and colour to generate complex visual sensations in the spectator. On these works the Tate Gallery wrote: “they involve certain juxtapositions and confrontations where the elements or their activities neutralise one another, cancel one another out. The central subject of the prints is the result of this neutralisation or cancellation”. Thus, the focus of this series was the result of tonal variations and their effects on the viewer, enabling an exploration into the physiological and psychological responses of the eyes.
