1980s Abstract Prints

Screenprint on Fabriano paper , edited in 1985 Limited edition of 125 copies signed in pencil by artist and numbered as: 46/125 paper size: 68 x 68 cm ( 26 5/8 x 26 5/8 inch ) very good conditions Published by Fausta Squatriti, Milan A regular certificate of authenticity will be included Fast and Tracked shipping with express currier DHL Bibliography: The prints on Anni Albers Ref 95 Anni Albers ( 1899 – 1994 ) – Double Weave...

Robert Motherwell Elegy Black Black 1983 Lithograph in colors, on TGL handmade paper, Edition of 98< AP XI/XVI 38.1 x 95.9 cms (15 x 37 4/5 ins) extract from the catalogue raisonné...

General Idea was founded in 1967 in Toronto by AA Bronson (b. 1946), Felix Partz (1945-1994), and Jorge Zontal (1944-1994). Over the course of 25 years, they made a significant contr...

Yaacov Agam Israeli (b. 1928) Hand signed, not individually numbered but from edition of 180. I can include a copy of the title sheet with the edition size and his signature if you r...

the painting is being offered with a work and authenticity certificate

This exquisite heliogravure after Henri Matisse (1869–1954), titled Icare (Icarus), from Henri Matisse, Jazz, originates from the 1983 second edition published by George Braziller, I...

Abstract Composition is an original Lithograph realized by Simone Gentile in the 1980s. Hand-signed. Numbered. Edition, 75/90. The artwork is depicted through confident strokes in...

Signed and numbered lithograph on woven paper designed by Robert Rauschenberg titled "Broken Harp". An early edition, number 24 of only 500 prints ever made. Executed on woven paper ...

Lithograph, 1985 Edition : 54/150 Publisher : Maurice Garnier (Paris) Printer : Mourlot (Paris) Catalog : [Sorlier 465] 58.00 cm. x 76.00 cm. 22.83 in. x 29.92 in. (paper) 50.00 cm....

Keith Haring Cover Art 1986: A rare highly collectible 1986 art publication featuring standout cover art by Keith Haring. Offset printed cover art and interior illustrations; softco...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Oil and silkscreen on canvas Hand signed, numbered, and dated on verso by Robert Indiana. Edition IV/V. Part of a series that Robert Indiana created in support of Barack Obama’s p...

extract from the catalogue raisonné: CR 309 Signature:Signed “Motherwell” in pencil lower right Inscriptions:Numbered in pencil lower right; workshop chop mark lower right; workshop...

Artist: Gene Davis (1920-1985) Title: Royal Curtain Year: 1980 Medium: Silkscreen on Arches paper Edition: 41/250, plus proofs Size: 30 x 21.5 inches Condition: Good Inscription: Sig...

Abstract yellow and black Rene Ricard print with hand painted poetry on handmade paper. Printed in black ink at the top of the sheet and framed with a thin line, the artist's loose h...

Helen Frankenthaler (after) Frankenthaler (autographedand inscribed), 1988 Offset lithograph poster (hand signed and inscribed to renowned collectors) Hand signed and warmly inscribed in ink on the front Frame included: Museum frame with UV plexiglass included Inscribed "to Paul and Joan, love Helen Frankenthaler" (Paul and Joan Gluck were major art collectors) Measurements: Framed 42 inches vertical by 34 inches by 1.75 inches Print 34.5 inches vertical by 27 inches Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

118.1 x 81.6 cms (46.5 x 32.1 ins) Edition of 70 Published by Tyler Graphics, New York Signed and numbered in pencil

This exquisite lithograph by Yaacov Agam (born 1928), titled Composition en mouvement (Composition in Motion), from the album Homage to Agam, Solomon R. Guggenheim Museum Exhibition ...

Luis Granda, Mexican (1961 - ) - El Curendero, Year: 1981, Medium: Lithograph on Arches, signed, numbered and dated in pencil, Edition: HC, Size: 22 x 30 in. (55.88 x 76.2 cm), P...

Title: Entre deux Villes. Year: 1955. Lithograph. Edition: 129/150 65 x 50 cm Signature lower in pencil. Ll'Ouvree gravee dry stamp lower left. At the b...

Artist: Nicholas Krushenick Title: Over the Top Year: 1978 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 30 Image Size: 29 x 24 in. (73.66 x 60.96 cm) Paper Siz...

This striking group of five abstract lithographs, signed and individually titled by renowned artist Dale Chisman, was created in 1987. The lithographs feature a captivating mix of re...

Sol LeWitt Limited Edition Geometric Abstraction Silk Scarf, ca. 1987 Limited Edition Silkscreen on 100% Italian silk scarf/shawl Signed on the fabric with artist's printed signature...

Peter Max, German/American (1937 - ) - Flower Abstract, Year: 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 165, HC, Image Size: 18 x 23.5 inches, Size: 22 i...

Peter Plagens (b. 1941) received his B.F.A. from the University of Southern California and his M.F.A. from Syracuse University. He is well known for his abstract, formalist paintings...

Cosmic Flowers is an original hand drawn lithograph by Peter Max printed using traditional hand lithography techniques on archival Arches paper, 100% aci...

David Hockney Offset lithograph poster Hand signed in pencil by David Hockney on the front The work depicted is "Detail of Cubistic Bar", 1980, crayon Published by Petersburg Press, ...

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. This red and black lithograp...

Sol LeWitt (1928-2007) is an important contributor to the 20th century's most cerebral "isms" notably minimalism and conceptual art. Many of his works were created from elaborate a...

"Untitled" blue abstract screenprint by artist Heinz Mack from the "Kinderstern" portfolio, published in 1989 by Edition Domberger to raise money to house families of children hospit...

Artist: James Norman, American (1927 - 2011) Title: Oscillation I Year: 1980 Medium: Screenprint, signed and numbered in pencil Edition: 35/95 Image Size: 10 x 33 inches Size: 25 x 3...

ARTHUR SECUNDA (American, b. 1927) “Oriental Dream”, Arthur Secunda, Beverly Hills, California, March, 1980 Poster 39.625 x 23.875 in. Unframed Plate signed Publishing Information: P...

Raymond Pettibon Black Flag 1980: Rare early Raymond Pettibon Black Flag punk flyer designed by Pettibon for a gig by Black Flag, Mommy Men, the Circle Jerks, Stains, and Descendents at the Hideaway; Sept. 19, 1980; striking, highly collectible early Raymond Pettibon punk art. Off-set lithograph. 8.5 x 11 inches Very good overall vintage condition. Unsigned from an edition of unknown. Rare. Further Background: Before Pettibon gained international recognition in the mid-80s for his skillful marriage of text and drawing, he was an important figure in the Los Angeles alternative scene. Working inside the punk movement, Pettibon’s art from this early period encapsulates the irreverence, intensity, and heightened self-awareness of youth, and chronicles the development of his characteristic violently shadowed and coarse aesthetic. (Source: MOCA, Tuscon). Raymond Pettibon popularized the American punk aesthetic with his designs that captured the riotous and chaotic character of punk such as this rare Black Flag flyer...

Artist: Larry Zox, American (1937 - 2006) Title: Moro II Year: 1981 Medium: Screenprint, Signed and numbered in Pencil Edition Size: 185 Size: 42.5 x 30 inches

"Untitled" lithograph on cardboard of red "Star for Children" by artist Imi Knoebel from the "Kinderstern" portfolio, published in 1989 by Edition Domberger to raise money to house f...

Victor Vasarely "Okta-2" 1985 Lithograph 31 x 25 1/2 in Ed 192 of 250 Perfect Condition Frame included

An abstract, black and white lithograph contained in an interesting shape enclosed by clean negative space. Signed L. Siekman, titled Jupiter Four and numbered 9/10. It is part of a ...

1983 Japanese pearlescent paper 27 × 20 in 68.6 × 50.8 cm Edition of 1000 2 colors printed matter on Japanese Kirabiki Paper

Joan Mitchell (American, 1925-1992), "Bedford II", Lithograph in Colors on Arches paper, 1981, from the Bedford series, signed in pencil lower right and numbered edition "61 / 70", p...

Gorgeous teal mesh and rods collagraph by Patricia A. Pearce (American, b. 1948). Unsigned. Purchased as part of larger collection. No frame. Image size: 23.75"H x 35.75"W Patricia ...

Robert Indiana American Dream (EAT / DIE / HUG / ERR) (Sheehan, 136), 1986 Hard and soft-ground etching, aquatint, drypoint and stencil on white Arches paper 37 inches × 21 inches ...

Joan Miró La Mélodie Acide - 1 Color lithograph Year: 1980 Edition: 1500 Artist Dry Stamp lower right, Annotated "H.C" (hors commerce) in pencil lower left Size: 8.2 × 6.6 on 12.9 ...

This original lithograph by Bram van Velde, published by Arte, Paris, is a striking example of the artist’s intensely expressive abstract style. Printed on a large sheet with full ma...

Woodcut and screenprint in colours, 1987, on Arches wove paper, signed and dated in pencil from the edition of 75, published by Parasol Press, Ltd., New York, from The Brooklyn Acade...

Frank Stella Frank Stella The Circuit Prints (Hand Signed), 1988 Color offset lithograph poster (hand signed by Frank Stella) Signed and dated 88 in ink by Frank Stella directly unde...

Artist: Tony Bechara, Puerto Rican (1942 - ) Title: Shandaken Year: circa 1980 Medium: Serigraph, signed and numbered in pencil Edition: 250, AP 35 Image Size: 20 x 20 inches Size: 2...

44.5 x 44.5 cms (17.5 x 17.5 ins) Edition of 70 Signature:Signed "Motherwell" in pencil lower right Inscriptions:Numbered in pencil lower right; artist's chop mark lower right ...

Artist: Roy Ahlgren, American (1927 - 2011) Title: Bir Sur Year: 1981 Medium: Screenprint, signed and numbered in pencil Edition: 150 Image Size: 18 x 25.5 inches Size: 22.5 x 30 in...

Victor Vasarely Tokyo, 1982 Hand signed lower right Edition: 99/250 in pencil Image size: 65 x 65 cm Sheet size: 79.5 x 75.8 cm

Sam Francis Untitled Abstract Expressionist print for the 1984 Olympics, 1982 Offset Lithograph on Parsons Diploma Parchment paper, hand signed with COA from publisher for Olympic Co...

Artist: Anne Youkeles, Austrian/American (1920 - ) Title: Script Year: circa 1980 Medium: 3-D Hand-Cast Paper Pulp Collage, signed, titled and numbered in pencil Edition: 7/25 Siz...

A very good impression of this color aquatint on Arches. Signed and numbered 3/48 in pencil by Chamberlain. Published by Novak Graphics, Toronto, with the black ink stamp, verso, and...

Black Hollyhock, Blue Larkspur By Georgia O'Keeffe 1987 Medium: Offset Lithograph Paper Size: 14 x 11 inches ( 36 x 28 cm ) Image Size: 10.75 x 9 inches ( 27 x 23 cm ) Edition...

A superb, richly-inked impression of this color etching and carborundum with hand-coloring in alizarin red egg tempera on TH Saunders handmade paper. Initialed, dated and numbered 41...

Robert Rauschenberg Three of the Cloister Series (Hand signed and inscribed to CPA Ruben Gorewitz, Andy Warhol's business partner), 1981 Offset lithograph poster (Signed by Robert Ra...

Robert Rahway Zakanitch (American b. 1935), Lilies, Blue and Orange, Hand signed and dated 78 in pencil at the lower right, and inscribed Artists Proof with edition notation AP 6/6...

This exquisite heliogravure after Henri Matisse (1869–1954), titled L'Enterrement de Pierrot (The Burial of Pierrot), from Henri Matisse, Jazz, originates from the 1983 second editio...

Le Troisième Oeil (The Third Eye) Lithograph on Arches paper Hand signed and numbered 1981 Dimensions: 21.5 X 30 inches Marcel Marceau (French: born Marcel Mangel; 1923 – 2007) was ...

Fritz Scholder (United States, 1937-2005) 'Mystery portrait in Barcelona -1', 1982 engraving on paper 30 x 22.1 in. (76 x 56 cm.) ID: SCH1341-006-000 Unframed

Artist: Nicholas Krushenick Title: Over the Top Medium: Silkscreen Year: 1980 Edition: 134/200 Sheet Size: 29" x 24" Frame Size: 33 1/2" x 28 1/4" Signed:...