Bridget Riley

Going Across, 2001

Cataloguing     Summary     Essay     Comparables     Video     Market     Biography

Explore Sydney Contemporary

Bridget Riley

(British, b. 1931)

Going Across, 2001
signed, titled, dated ’01 and numbered 49/90
silkscreen ink on paper
image: 42 by 73 cm.
sheet: 61.6 by 91.4 cm.
This work is number 49 from an edition of 90. Published by Parkett Editions, Zurich.

Another work from this edition is in the collection of the Museum of Modern Art in New York.

AUD $ 18,000

Payment over 10 months with Art Money available

Parkett Editions, Zurich
Private Collection, Melbourne
Corporate Collection, Melbourne

Exh. cat., Hayward Gallery, London, Bridget Riley, Complete Prints 1962-2001, 2001, illustrated on the cover
Karsten Schubert, Bridget Riley: Complete Prints 1962-2005, London 2005, no. 45
Robert Kudielka, Bridget Riley, Prints 1962-2020, London 2020, no. BRS 45

Hayward Gallery, London; Hunterian Art Gallery, Glasgow; Abbot Hall Art Gallery, Kendal; Rugby Art Gallery and Museum, Rugby; Glynn Vivian Art Gallery, Swansea;  Firstsite, Colchester, Complete Prints 1962-2001, 2001-02 (edition no. unknown)
Rotermann Salt Storage, Tallinn; Contemporary Art Centre, Vilnius; East-Slovakian Gallery, Kosice; Moravian Gallery, Brno; Museum Sztuki, Lodz; Museum of Modern and Contemporary Art, Rijeka, A Print Retrospective, 1962-2003, 2004-05 (edition no. unknown)
Galerie Nicole Schlégl, Zurich, Bridget Riley – Grafische Werke, 2011 (edition no. unknown)
Städtische Galerie, Villingen-Schwenningen, Bridget Riley, Prints 1962-2012, 2013 (edition no. unknown)
Museum in Kulturspeicher, Würzburg, Bridget Riley – Prints, 2019 (edition no. unknown)

Key Points

  • Another example of this edition is in the collection of the Museum of Modern Art in New York
  • The work is attractively priced, as another example from this edition sold for over AUD $21,000 in March 2021 at auction
  • Going Across was illustrated on the cover of the 2001 catalogue raisonné for Bridget Riley’s prints
  • Bridget Riley has a strong and highly transactional secondary market with global demand
  • Having exhibited in Australia since 1976, Bridget Riley’s work is collected by almost every major museum in Australia spanning all states

In Context

Throughout her six-decades long career, Bridget Riley has continually investigated the way we perceive images by breaking them down into their basic components of colours and shapes. Her earliest works were directly in dialogue with the French pointillist Georges Seurat, although she soon moved away from figuration to a completely abstract approach. 

“No painter, dead or alive, has ever made us more aware of our eyes than Bridget Riley.” 

– Robert Melville, The New Statesman, 1970

Since the early 1960s, when she became famous as one of the proponents of Op Art, her abstract works have reflected a constantly changing visual language that has resulted in some of the most original approaches to abstraction. Not dissimilar in approach to the work of Josef Albers (the Bauhaus teacher who investigated the interactions of colours through their juxtaposition in three or four layered squares) most of Riley’s works only use a handful of colours, but are juxtaposed in much more dynamic compositions that generate much stronger optical effects. 

Bridget Riley in her studio

By the end of the 1960s her work had already evolved into a direction that made it clear that the Op Art label was rather reductive to Riley’s oeuvre. Her lyrical use of colour and form took the aesthetic of her contemporaries like Frank Stella and Ellsworth Kelly into new directions, and would evolve continuously over her six-decade long career, exploring how we perceive the world through an elaborate investigation into the interactions of colour and form. 

“People frequently experience visual events in nature which are far more violent, and even blinding, than anything I have done on canvas. A glittering expanse of sea or a shimmering tree is far more disturbing. The hub of the matter seems to be what is expected and what can therefore be accommodated. People would be very shocked indeed if the world itself was as dead in its appearance as they seem to expect a painting to be.”

– Bridget Riley

Her obsession with the act of perception has meant that Riley’s later work has evolved largely independently from trends in contemporary art, resulting in a highly unique visual language. The series of curvilinear works which she started in the late 1990s, and of which Going Across is part, is a great example of this. Although both the colour palette and the composition of overlapping curved shapes are minimal, the resulting work is full of rhythm and movement.

Few international artists are as well-presented in Australian public and private collections as Bridget Riley. The British grande dame of abstract painting has long exhibited here, with her first selling exhibition at Coventry Galleries in Sydney as early as 1976. Both a significant mid-career survey and a full-scale retrospective were staged in Australia in 1979 and 2004-05, and every major contemporary art museum in Australia owns work by her.

Comparable works

Bridget Riley, Blue and Pink, 2001
Tate Modern, London
Bridget Riley, Going Across, 2001
Museum of Modern Art, New York
Bridget Riley, Red with Red Curves, 2010
Centre Pompidou, Paris


Film | Bridget Riley: Prints 1962 – 2020 by Cristea Roberts Gallery, London

The market

With an auction record of US$ 6.1 million and works sold on the secondary market on a monthly basis, Bridget Riley has an extremely strong and transactional resale market. Whether your motivations for collecting art are financial or not, the advantage with blue-chip artists like Bridget Riley is that their work can be resold, and if recent price trends are continuing, likely for more than their current value. 

Going Across is attractively priced at AUD 18,000 considering that the most recent example from this edition at auction sold for the equivalent of over AUD 21,000 (and with this work being in Australia already, you would not need to pay the import taxes and shipping cost, which would bring the total price closer to AUD 24,000 if bought in the UK).

Bridget Riley, Going Across, 2001, silkscreen on paper, 61.5 by 91.3 cm. ed. 7/90
Sold for: GBP 11,340 (AUD 21,300)
Sotheby’s London, March 2021
Bridget Riley, Sylvan, 2000
silkscreen on paper, 89 by 61 cm. ed. 67/75
Sold for: GBP 10,710
(AUD 19,600)
Sotheby’s London, March 2021
Bridget Riley, Firebird, 1971
silkscreen on paper, 76.5 by 102 cm. ed. 2/75
Sold for: GBP 52,920 (AUD 97,225)
Sotheby’s London, March 2021

Installation view of Bridget Riley at the Museum of Contemporary Art, Sydney, 2004


Selected solo exhibitions
2020   David Zwirner, London
2019   Hayward Gallery, London
2019   National Gallery, Edinburgh
2018   Sprüth Magers, Los Angeles
2017   Chinati Foundation, Marfa
2017   Christchurch Art Gallery
2016   National Gallery, Edinburgh
2015   The Courtauld Gallery, London
2015   Gemeentemuseum, The Hague
2014   Art Institute of Chicago
2013   Galerie Max Hetzler, Berlin
2010   National Gallery, London
2008   Musée d’art moderne, Paris
2007   PaceWildenstein, New York
2004   MCA, Sydney
2003   Tate Britain, London
2003   Galerie Beyeler, Basel
2002   Haus Esters Haus Lange, Krefeld
2001   Hayward Gallery, London
2000   Dia Center for the Arts, New York
1999   Serpentine Gallery, London
1994   Tate Gallery, London
1992   Ikon Gallery, Birmingham
1990   Nishimura Gallery, Tokyo
1990   Sidney Janis, New York
1989   Mayor Rowan Gallery, London
1985   QAGOMA, Brisbane
1980   National Museum, Tokyo
1979   Australian Galleries, Melbourne
1979   Centerpoint Gallery, Sydney
1979   AGWA, Perth
1978   Dallas Museum of Fine Art
1978   Albright-Know Gallery, Buffalo
1978   Sidney Janis, New York
1976   Coventry Gallery, Sydney
1975   Galerie Beyeler, Basel
1973   Tate Gallery, London
1972   Kunstverein Göttingen
1971   Kunsthalle Dusseldorf
1971   National Gallery, Prague
1970   Kunsthalle Bern
1969   Boijmans van Beuningen
1968   Richard Feigen, New York
1968   Venice Biennale
1967   MoMA New York
1966   Robert Fraser Gallery, London
1965   Richard Feigen Gallery, New York
1963   University Gallery, Nottingham

Selected collections
Albright-Knox Gallery, Buffalo
AGNSW, Sydney
Arts Council, London
Berardo Museum, Lisbon
Boijmans van Beuningen, Rotterdam
Centre Georges Pompidou, Paris
Dallas Museum of Fine Arts, Dallas
Dia Art Foundation, New York
Harvard Art Museums, Cambridge
Hokkaido Museum, Sapporo
Irish Museum of Modern Art, Dublin
Israel Museum, Jerusalem
Iwaki City Art Museum
Kunsthalle zu Kiel, Kiel
Kunstmuseum Bern, Bern
Leeds City Art Gallery, Leeds
MAMbo, Bologna
Manchester City Art Gallery
Metropolitan Museum, New York
MoCA, Los Angeles
Moderna Museet, Stockholm
MoMA, New York
Musée d’art moderne, Paris
Musée de Grenoble, Grenoble
Museum of Fine Arts, Boston
Nationalgalerie, Berlin
National Gallery of Australia, Canberra
National Gallery, Edinburgh
National Museum of Modern Art, Tokyo
Neues Museum, Nuremberg
Norton Simon Museum, Pasadena
QAGOMA, Brisbane
RISD, Rhode Island
Staatsgalerie, Stuttgart
Stedelijk Museum, Amsterdam
Tate Gallery, London
Thyssen-Bornnemisza, Lugano
Wadsworth Atheneum, Hartford
Walker Art Center, Minneapolis
Whitworth Gallery, Manchester
Yale Center, New Haven

ILEANA at Explore Sydney Contemporary

Walead Beshty, Louise Bourgeois, Dorian Büchi, Michael Craig-Martin, Melissa Gordon, Richard Hamilton, Rachel Howard, Louise Lawler, Tony Lewis, Sol LeWitt, Tim Maguire, Takesada Matsutani, Edda Renouf, Bridget Riley, Peter Schuyff, Stansfield/Hooykaas, Wang Guangyi, Christopher Wool

Presented at Explore Sydney Contemporary (11-21 November 2021)

All artworks © the artist.