Red and Green to Red and Blue; Takeover Movement: E (Study for Late Morning 2); sections used in images E F I K L & possible D

成交价英镑 61,250

估价

英镑 50,000 – 英镑 70,000

载入资料中

试用

Bridget Riley (b. 1931)

Red and Green to Red and Blue; Takeover Movement: E (Study for Late Morning 2); sections used in images E F I K L & possible D

成交价英镑 61,250

細明拍品专文

Bridget Riley (b. 1931)
Red and Green to Red and Blue; Takeover Movement: E (Study for Late Morning 2); sections used in images E F I K L & possible D
gouache and graphite on paper, on three overlapping sheets
6 x 67½in. (15.2 x 171.1cm.)
Executed in 1967

Galerie Schlégl, Zurich.
Acquired from the above by the present owner in 2000.

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

荣誉呈献

Client Service

查阅状况报告或联络我们查询更多拍品资料

info@christies.com + 1 212 636 2000

拍品专文

'Whatever the occasion might be, the pleasures of sight have one characteristic in common - they take you by surprise. They are sudden, swift and unexpected. If one tries to prolong them, recapture them or bring them about willfully their purity and freshness is lost. They are essentially enigmatic and elusive. One can stare at a landscape, for example, which a moment ago seemed vibrant and find it inert and dull - so one cannot say that this lively quality of sight is simply 'out there in nature,' or easily available to be commanded as wished. Nor is it a state of mind which, once acquired, can bend the most stubborn and unrewarding aspect of external reality to its own purposes. It is neither the one nor the other but a perfect balance between the two, between the inner and the outer. This balance is a sort of convergence which releases a particular alchemy, momentarily turning the commonplace into the ravishing.' (Riley, quoted in "The Pleasures of Sight," in , exh. cat., London, Tate Modern, 2003, p. 214).