6

Bridget Riley

(b. 1931)

"Untitled (Bronze)," 1978

Screenprint in colors on wove paper
Edition: One of twenty artist's proofs (the edition was 75)
Signed, dated, and numbered in pencil in the lower margin: Bridget Riley
Image: 22.5" H x 33" W; Sheet: 26.5" H x 37.125" W

  • Provenance: Bridget Riley Services, London, England
    The Marmor Family Collection, acquired from the above, June 23, 1999
  • Literature: Schubert 26
  • Notes: Bridget Riley, often compared to Henry Moore for her ubiquity in British art history, embarked on her artistic journey at Hornsey, where she delved into Op Art, initially exploring only black and white compositions with geometric shapes. Her approach was instinctive, guided by direct observation rather than theory.

    In 1963, Riley gained prominence at the "New Generation" exhibition at London's Whitechapel Gallery alongside artists like Allen Jones and David Hockney. However, her breakthrough on the international stage came in 1965, with her inclusion in The Museum of Modern Art's "The Responsive Eye" exhibition in New York. While this brought her rapid success, it also led to the almost immediate and unauthorized commercialization of her work, and years of legal battles. Despite initial critics dismissing Op Art as mere optical illusion, Riley's solo exhibition at the Richard Feigen Gallery in New York garnered widespread acclaim, with tickets selling out on the first day. Op Art captivated the public imagination, with Riley emerging as a leading figure in the movement.

    In 1967, Riley ventured into the realm of color, a cautious exploration that revealed the relative nature of color perception. Her work evolved to embrace this instability, with color becoming the foundation of her compositions, shaping the spaces between forms to create dynamic illusions of movement. A pivotal moment occurred in 1981 when Riley journeyed to Egypt, where she was captivated by the vibrant colors of ancient Egyptian art. Inspired by the purity and brilliance of these hues, she adopted a freer approach to color arrangement, infusing her work with the intensity and shimmering light she had long sought. This marked a departure from her previous ordered approach to color, heralding the beginning of her experimentation with free color organization. "The music of colour, that's what I want." Bridget Riley


    This lot is accompanied by a copy of the sales invoice and gallery card from Bridget Riley Services, London, England, June 23, 1999.
  • Condition: Overall good condition. With full margins and deckled edges. The colors good. Soft cockling along the upper margin, at right. The sheet is loose, not matted.

    Framed under glass: 27.5" H x 38.25" W x 1.25" D


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March 26, 2024 12:00 PM PDT
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