Bridget Riley Prints and Multiples

Screen print. Produced in 2007. Edition of 75. Hand signed and numbered by Bridget Riley. Schubert 65

Screen print on wove paper. Produced in 1966. Edition of 75. Hand signed and numbered by Bridget Riley.

Screenprint in 3 colours plus white under print on Fabiano 5 paper Edition of 75 48.9 x 80 cm (19.2 x 31.5 in) Signed, numbered, dated and titled on the front Condition upon request ...

Fold, 2004 Bridget Riley Screenprint in colours, plus white under print on Fabriano 5 paper Signed, titled, dated and numbered from the edition of 250 Published by Ridinghouse, Lond...

Bridget Riley Print for The Chicago 8, from Conspiracy: The Artist as Witness (Schubert, 15), 1971 Silkscreen on 100% handmade rag paper Signed and numbered 110/150 and dated i1971 n graphite on the front also bears the printer's distinctive blind stamp Frame included: Work is elegantly floated and framed in a handmade white wood museum frame with Tru-vue Optium acrylic glazed plexi (the highest quality). Measurements: Framed: 25.75 inches vertical by 19.75 inches horizontal by 2 inches Artwork: 24 inches vertical by 18 inches horizontal This is one of the most celebrated and coveted silkscreens Bridget Riley ever made. Not too many Bridget Riley graphic works from this period are on the market. Original Op Art three color silkscreen on 100% handmade rag paper from the early 1970s -- the most desirable and collectible era -- by internationally renowned British abstract Op artist Bridget Riley, one of the leading artists of her generation - and one of the most bankable living female artists in the world. Hand signed, numbered and dated on the lower recto from the limited edition of 150. Also, the verso lower left features printed copyright stamp of the artist, with date: Copyright © 1971 and Bridget Riley Printer's distinctive blindstamp (Kelpra Studios London)with unique inventory number, verso lower right. Riley burst onto the international art scene in the mid Sixties, after being chosen to participate in the groundbreaking “Responsive Eye” exhibition at the Museum of Modern Art, alongside artists like Richard Anuszkiewicz, Yaacov Agam and Victor Vasarely - announcing the the ‘arrival’ of Op Art to the world. This stunning work was proofed under the supervision of the artist and printed by hand at Kelpra Studio Ltd., London, England. "Print for Chicago 8" was created for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 (who later became the Chicago 7) a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (The eighth activist, Bobby Seale, was severed from the case and sentenced to four years for contempt after being handcuffed, shackled to a chair and gagged.) Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy, with one juror proclaiming the demonstrators "should have been shot down by the police." All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. This classic Op Art print - quintessential Riley- is becoming increasingly scarce because so many from this edition are in the permanent collections of major museums and institutions worldwide. Published by: David Godine and the Center for Constitutional Rights Printed by: Chris Prater, Kelpra Studios Ltd., London, England Catalogue Raisonne Reference: Schubert, 15 Bridget Riley Biography Bridget Riley's (b. 1931) abstract compositions yield a singular sense of visual pleasure for the viewer, a notion derived as much from the artist's formative encounters with Old Master and Impressionist painting as from her early experiences with nature. Since 1961, she has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, a wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. This sense of dynamism was explored to great effect in the artist's earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 1967, Riley introduced color into her work, thus expanding the perceptual and optical possibilities of her compositions. Riley was born in 1931 in London, where she attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955. Riley’s first solo exhibitions were held at Gallery One, London, in 1962 and 1963, followed by two exhibitions at Robert Fraser Gallery, London, in 1966 and 1967. She was also at that time included in numerous group exhibitions such as Towards Art?, Royal College of Art London (1962); The New Generation, Whitechapel Gallery, London (1964); and Painting and Sculpture of a Decade 1954–1964, Tate Gallery, London (1964). In 1965, her work was included in the now-seminal group exhibition The Responsive Eye, organized by William Seitz at The Museum of Modern Art, New York. In 1968, she represented Great Britain at the 34th Venice Biennale (along with Philip King), where she was the first living British painter to win the prestigious International Prize for Painting. Her first retrospective, covering the period from 1961 to 1970, opened at the Kunstverein Hannover in 1971 and subsequently traveled to Kunsthalle Bern; Kunsthalle Düsseldorf; Galleria Civica d’Arte Moderna, Turin; and the Hayward Gallery, London. More recent significant solo presentations include those at Dia Center for the Arts, New York (2000-2001); Museum Haus Esters and Kaiser Wilhelm Museum, Krefeld, Germany (2002); Museum of Contemporary Art, Sydney (2004-2005); Musée d'Art Moderne de la Ville de Paris (2008); Walker Art Gallery, Liverpool (traveled to Birmingham Museums and Art Gallery; Norwich Castle Museum and Art Gallery; Southampton City Art Gallery; 2009-2010); The National Gallery, London (2010-2011); Art Institute of Chicago (2014-2015); The Courtauld Gallery, London (2015); De La Warr...

Colour screenprint on white wove paper Edition of 150 61 x 46 cm (24 x 18.1 in) Signed, numbered and dated on the front. Ink stamped initial “K” on the verso Condition upon request ...

Silkscreen on Somerset Satin paper AP of 10 aside from the main edition of 90 Signed and numbered on the front Condition upon request Framed with acrylic Published by Parkett magazine...

Bridget Riley: Reconnaissance (hand signed and inscribed by Bridget Riley), 2001 Hardback monograph with no dust jacket as issued (hand signed and inscri...

Signed, titled, dated and numbered from the edition of 75 in pencil, on card, printed by Kelpra Studio, London, with their rubber stamp verso, the full sheet printed to the edges.

Bridget Riley Flashback (Hand Signed), 2009 Offset Lithograph (hand signed by Bridget Riley) 27 × 27 inches Boldly signed in black marker on the front Unframed Signed by Bridget Riley in her inimitable hand on the occasion of this 2009-2010 exhibition at the Southampton City Art Gallery of works from the Arts Council of Great Britain collection. Bridget Riley Biography Bridget Riley's (b. 1931) abstract compositions yield a singular sense of visual pleasure for the viewer, a notion derived as much from the artist's formative encounters with Old Master and Impressionist painting as from her early experiences with nature. Since 1961, she has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, a wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. This sense of dynamism was explored to great effect in the artist's earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 1967, Riley introduced color into her work, thus expanding the perceptual and optical possibilities of her compositions. Riley was born in 1931 in London, where she attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955. Riley’s first solo exhibitions were held at Gallery One, London, in 1962 and 1963, followed by two exhibitions at Robert Fraser Gallery, London, in 1966 and 1967. She was also at that time included in numerous group exhibitions such as Towards Art?, Royal College of Art London (1962); The New Generation, Whitechapel Gallery, London (1964); and Painting and Sculpture of a Decade 1954–1964, Tate Gallery, London (1964). In 1965, her work was included in the now-seminal group exhibition The Responsive Eye, organized by William Seitz at The Museum of Modern Art, New York. In 1968, she represented Great Britain at the 34th Venice Biennale (along with Philip King), where she was the first living British painter to win the prestigious International Prize for Painting. Her first retrospective, covering the period from 1961 to 1970, opened at the Kunstverein Hannover in 1971 and subsequently traveled to Kunsthalle Bern; Kunsthalle Düsseldorf; Galleria Civica d’Arte Moderna, Turin; and the Hayward Gallery, London. More recent significant solo presentations include those at Dia Center for the Arts, New York (2000-2001); Museum Haus Esters and Kaiser Wilhelm Museum, Krefeld, Germany (2002); Museum of Contemporary Art, Sydney (2004-2005); Musée d'Art Moderne de la Ville de Paris (2008); Walker Art Gallery, Liverpool (traveled to Birmingham Museums and Art Gallery; Norwich Castle Museum and Art Gallery; Southampton City Art Gallery; 2009-2010); The National Gallery, London (2010-2011); Art Institute of Chicago (2014-2015); The Courtauld Gallery, London (2015); De La Warr...

Bridget Riley Richard Feigen Gallery 1965 Op Art poster, 1965 Offset lithograph poster 21 × 17 inches Unframed Very rare early Bridget Riley poster...

Untitled [Wave], 1975 Bridget Riley Screenprint in colours, on wove Signed, dated and numbered from the edition of 400 Printed by Graham Henderson, London Published by Galerie Beyel...

Start, 2000 Bridget Riley Screenprint in colours, on paper Signed, titled, dated and numbered from the edition of 200 Printed by Artizan Editions, Hove Image: 34.8 × 38 cm (13.7 × 1...

Sideways, 2011 Bridget Riley Screenprint in colours, on Fabriano 5 wove Signed, titled, dated and numbered from the edition of 250 Printed by Artizan Editions, Hove Image: 29 × 17 c...

Screenprint in colours Edition of 250 Signed, numbered and dated on the front Artwork in mint condition. Artwork not inspected outside of frame Float-mounted with plexiglass Frame: 5...

Untitled [La Lune en Rodage - Carlo Belloli], 1965 Bridget Riley Screenprint, on wove paper Signed, dated and numbered from the edition of 200 (plus 10 artist's proofs) Printed by K...

Carnival, 2000 Bridget Riley Sscreenprint in colours, on wove paper Signed, dated, titled and numbered from the edition of 75 (plus 10 artist's proof) Printed and published by Artiz...

Frieze, 2000 Bridget Riley Screenprint in colours, on wove paper Signed, dated, titled and numbered from the edition of 200 (plus 20 artist's proof) Printed by Sally Gimson Artizan ...

Silkscreen printed in colours Edition of 200 47.5 x 49 cm (18.7 x 19.3 in) Signed, numbered and dated on the front Condition on request Published by the artist The seller can only p...

Screenprint on Saunders board Edition of 75 Signed, numbered, dated and titled on the front Condition upon request Published by the Rowan Gallery and printed at the Kelpra Studio Ou...

Vista, 2017 Bridget Riley Screenprint in colours, on Fabriano 5 wove Signed, titled, dated and numbered from the edition of 150 Printed by Artizan Editions, Forest of Dean Image: 17...

Splice, 1975 Bridget Riley Screenprint in colours, on wove Signed, dated, titled and, numbered from the edition of 45 Printed by Graham Henderson, London Sheet: 75.3 × 54 cm (29.6 ×...

RA 2, 1981 Bridget Riley Screenprint in colours, on wove Signed, dated, titled, annotated, numbered from the edition of 75 Printed by Artizan Editions, Hove Image: 87.2 × 76.4 cm (3...

Untitled [Winged Curve], 1966 Bridget Riley Screenprint in black, on wove Signed, dated and numbered from the edition of 75 Printed by Kelpra Studio, London Image: 36.9 × 40.9 cm (1...

Untitled [Elongated Triangles 1], 1971 Bridget Riley Screenprint in colours, on wove Signed, dated and numbered from the edition of 75 Printed by Kelpra Studio, London Image: 97 × 2...

15 colour screen print on 300gsm Fabriano 5 paper - Hand signed, dated, titled and numbered by the artist. Edition of 250 Signed

Signed, numbered and titled by the artist in pencil, recto. Edition of 200 Signed

BRIDGET RILEY Rose Horizontal, 2018 Screenprint in colours, on Fabriano 5 paper Signed, titled, dated and numbered from the edition of 75 Printed by A...

Measure For Measure, 2020 Screenprint in 3 colours on Fabriano 5 paper 25 × 24 3/5 in 63.5 × 62.5 cm Edition of 175 This work is part of a limited ...

1965 Screenprint in colors, on wove paper Image/sheet: 11 3/5 x 11 1/2 in. Edition of 200 Signed, dated and numbered in pencil, lower margin Framed, excellent condition