--- title: "Bridget Riley: results at LLB Auction" source: LLB Auction canonical: https://www.llb-auction.com/artists/bridget-riley currency: EUR price_basis: hammer, excluding buyer's premium and VAT scope: results at this auction house only --- # Bridget Riley | Fact | Value | |---|---| | Born | 1931 | | Nationality | United Kingdom | | Movements | op art, contemporary art, modern art | | Lots offered at LLB Auction | 3 | | Lots sold | 1 | | Range of prices realised | €25,007 to €25,007 | | Median price realised | €25,007 | ## Lots | Work | Medium | Sale | Date | Estimate | Hammer | |---|---|---|---|---|---| | Two Blues | Screeprint | Contemporary Art Summer 2026 | 7 July 2026 | €6,000 to €12,000 | Not sold | | LOT 14. Untitled, from Rothko Memorial Portfolio | Screenprint | Contemporary Art: Autumn Collection 2025 | 26 October 2025 | €10,000 to €15,000 | €25,007 | | 17. Two Blues | Print | Contemporary Art June 2025 | 29 June 2025 | €6,000 to €8,000 | Not sold | ## About Bridget Riley ### Life and work Bridget Riley is a British painter born in 1931 who continues to work from studios in London, Cornwall and the Vaucluse region of France. She is recognised internationally as a leading figure in op art, a movement that emerged in the 1960s and explored optical effects through precise geometric abstraction. Her practice also places her within the wider contexts of modern art and contemporary art. Riley's career spans more than six decades, during which she has maintained a rigorous investigation into perception, colour relationships and the dynamic potential of painted surfaces. Riley works across multiple disciplines. Her roles include painter, printmaker, draftsperson, sculptor, architectural drafter, designer, muralist and artist. This breadth reflects a sustained engagement with how visual phenomena can be explored through different media and scales. Her paintings often employ repeating patterns, stripes, curves and geometric forms that create sensations of movement, vibration or spatial ambiguity when viewed. Works from the 1960s frequently used black and white compositions, while later decades saw the introduction of complex colour systems. Riley's prints extend the optical investigations of her paintings into editioned formats, and her work has also encompassed large scale murals and site specific projects. ### Unique paintings and editioned prints Riley's output divides into unique works and editioned multiples, a distinction that significantly affects how pieces are valued. Unique paintings on canvas or board represent singular objects created by the artist's hand or under her direct supervision. These works vary in scale from modest studies to large canvases intended for museum or institutional display. Preparatory drawings and gouaches on paper, often executed on graph paper to plan compositions, also exist as unique works and provide insight into her methodical process. Editioned prints form another substantial part of Riley's practice. Screenprints and silkscreens allow her optical compositions to reach a wider audience while maintaining high production standards. Edition sizes vary, and each print within an edition is numbered to indicate its place within the total run. A print numbered 12 out of 50 has different market considerations than an artist's proof or a print from an edition of 200. The medium matters as well. Screenprints on paper differ in handling and value from works on card stock. Collectors and specialists assess prints based on edition size, the specific number within that edition, the quality of the printing, and whether the work was published during a significant period of the artist's development. ### What a specialist examines When a specialist evaluates a work attributed to Riley, several factors require close attention. The medium must be identified precisely. A painting may be acrylic emulsion on canvas, gouache over graphite on paper, or another combination of materials. Each medium has distinct characteristics that affect both authenticity assessment and value. The period in which a work was created matters greatly. A black and white composition from 1965 occupies a different position in her career than a colour work from 1971 or later. For prints, the edition size and the specific number assigned to the impression are essential. A print marked as part of a small edition commands different interest than one from a large commercial run. The presence and placement of the artist's signature must be documented. Riley's signature may appear in pencil on the margin of a print or on the reverse of a canvas. Condition is always a consideration. Prints can suffer from fading, foxing, creases or tears. Paintings may show craquelure, surface dirt, losses or restoration. Any intervention or damage affects value. Provenance provides context. Documentation of previous ownership, exhibition history or publication in catalogues adds to a work's profile. A label on the reverse from a known gallery or institution, correspondence with the artist or her representatives, or inclusion in a published reference all contribute to establishing a work's history. Specialists examine these elements together to form a complete picture of what is being offered. ### Sales at this house This auction house has offered three works attributed to Bridget Riley. Of those three, one sold. The realised price for that work was 25007 euros. With only a single sale recorded, it is not possible to describe a pattern or range of outcomes. The limited sample reflects the relative scarcity of Riley's work appearing at auction through this house rather than a comprehensive view of her market. ### Preparing a valuation request A seller seeking a valuation should provide clear photographs of the work from multiple angles. The front image should show the entire composition in even lighting without glare. A photograph of the back or reverse is equally important, as it may reveal labels, stamps, inscriptions or structural information about the support. Any signature, whether on the front margin, the reverse or elsewhere, must be photographed in detail. If a label from a gallery, exhibition or framer is present, it should be captured legibly. Dimensions are required in both centimetres and inches, recording height before width. For works on paper, note whether the measurements refer to the sheet size or the image alone. Any documentation should be gathered and described. This includes certificates, invoices, exhibition records, correspondence or published references. Condition issues such as tears, stains, fading or restoration should be noted honestly. Providing this information in advance allows a specialist to assess the work efficiently and offer an informed preliminary opinion. ## Market at LLB Auction | Figure | Value | |---|---| | Sell-through | 33% | | Record hammer | €25,007 (LOT 14. Untitled, from Rothko Memorial Portfolio) | | Hammer vs low estimate | 2.50x | | Lots above high estimate | 1 | ### Prices by medium | Medium | Offered | Sold | Lowest hammer | Median hammer | Highest hammer | |---|---|---|---|---|---| | Print | 1 | 0 | — | — | — | | Screenprint | 1 | 1 | €25,007 | €25,007 | €25,007 | | Screeprint | 1 | 0 | — | — | — | ### Year by year | Year | Offered | Sold | Total hammer | |---|---|---|---| | 2025 | 2 | 1 | €25,007 | | 2026 | 1 | 0 | €0 | ## Comparables Related artists: Yayoi Kusama, George Condo, Julian Opie, David Shrigley, Francis Bacon, Banksy ## In museum collections | Work | Year | Museum | |---|---|---| | Ascending and Descending Hero | 1965 | Art Institute of Chicago | | Print for Chicago 8, from Conspiracy, The Artist as Witness | 1971 | Art Institute of Chicago | | Turquoise and Red Greys, Sequence Study | 1967 | Art Institute of Chicago | | Nineteen Greys | 1968 | Art Institute of Chicago | ## Sources - Wikidata (Q234449) (CC0): https://www.wikidata.org/wiki/Q234449 - wikipedia (CC BY-SA 4.0): https://en.wikipedia.org/wiki/Bridget_Riley - aic (CC0) ## Valuations Request a free valuation: https://www.llb-auction.com/sell