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• Auction House:
  Deutscher and Hackett
• Sale Name:
  Important Australian & International Art
• Sale Date:
  28 Aug 2013 ~ 7pm
• Lot #:
  3
• Lot Description:
  Bridget Riley
  born 1931, British
  Study For White Disks, 1964
  ink on paper
  30.5 x 28.0 cm (sheet)
  signed, dated and inscribed lower left: Study for White Disks ’64 / Bridget Riley
• Provenance:
  Collection of Lex Aitken and Alfredo (Bouret) Gonzalez, Sydney, acquired directly from the artist
• Exhibited:
  Bridget Riley, Richard Feigen Gallery, New York, 1966; Bridget Riley, Robert Fraser Gallery, London, 1966, cat. RF 1595 (label attached verso
• References:
  Related Works: White Disks 1, 1964, emulsion on hardboard, 132.0 x 132.0 cm, collection of Mr J.D.J. Schmitt, Schenectady, New York, illus. in Bridget Riley: Works 1959–78, British Council, London, 1978, cat. 20, p. 40; White Disks 2, 1964, emulsion on hardboard, 104.0 x 99.0 cm, private collection, illus. in Moorhouse, P. (ed.), Bridget Riley, Tate Publishing, London, 2003, cat. 6, p. 69; Fragment 6/9 (from ‘Fragments’ series), 1965, screenprint on Perspex, 62.5 x 72.0 cm, collection of
• Notes:
  Although compositionally very different, Study for White Disks, 1964 similarly investigates the fundamental role of perception which lies at the core of our existence. As Moorhouse elucidates, analysing another version of the present composition, White Discs 2,1964 (private collection): ; ; ‘… What we see, in looking at the painting is not simply its surface characteristics; rather, the visual experience of the work is intimately connected with our inner responses to it. Indeed, the overwhelming impression is that it is only in looking that the true nature of the painting is revealed and completed… The initial (sensory) phase when the eye accepts the motif passively is defined by a fleeting impression of rows of black discs, of varying sizes. This view is very quickly overtaken by a secondary (perceptual) stage which is marked by the appearance of numerous ghostly white discs – after images – which exist alongside their black progenitors. A third, open-ended phase is characterised by the viewer’s interaction with the situation as it is now presented. In this stage, the eye moves freely around the pictorial space, alternating between the apprehension of real and virtual images. This process is self-sustaining in that the white after-images reappear, fade and are regenerated indefinitely. The capacity of Riley’s art for regeneration, using elements from within itself, is a remarkable aspect of her work.’ 1; ; 1. Moorhouse, P., ‘The ultimate secret of things: Perception and sensation in Bridget Riley’s art’ in Bridget Riley: Paintings and Drawings 1961–2004, Ridinghouse, London, 2004, p. 16; ; VERONICA ANGELATOS
• Estimate:
  A$20,000 - 30,000
• Realised Price:
  *****
  

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• Category:
  Art

This Sale has been held and this item is no longer available. Details are provided for information purposes only.