Carlos García de la Nuez Abstract Prints
to
6
2
3
1
Overall Width
to
Overall Height
to
12
12
650
187
172
165
1
11
1
12
10
5
5
5
5
12
Artist: Carlos García de la Nuez
"Pauses" 2006 Original Abstract Hand Signed silkscreen Print Cuban Artist
By Carlos García de la Nuez
Located in Miami, FL
Carlos Garcia De La Nuez (Cuba, 1959)
'Pausas', 2006
silkscreen on paper
19.7 x 23.7 in. (50 x 60 cm.)
Edition of 99
Unframed
ID: GAR1649-006-104
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Ink, Screen
"Night Seashell" 2006 Original Abstract Hand Signed silkscreen Print Cuban Art
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia De La Nuez (Cuba, 1959)
'Caracoles nocturnos', 2006
silkscreen on paper
19.7 x 23.7 in. (50 x 60 cm.)
Edition of 104
ID: GAR1649-007-104"
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Ink, Screen
"My Two Houses" 2006 Original Abstract Hand Signed silkscreen Print Cuban Artist
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia De La Nuez (Cuba, 1959)
'Mis dos casas', (My Two Houses) 2006
silkscreen on paper
19.7 x 23.7 in. (50 x 60 cm.)
Edition of 99
ID: GAR1649-005-104"
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Ink, Screen
"My DNA" 2006 Original Abstract Hand Signed silkscreen Print Cuban Artist
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia De La Nuez (Cuba, 1959)
'My DNA', 2006
silkscreen on paper
19.7 x 23.7 in. (50 x 60 cm.)
Edition of 99
ID: GAR1649-004-104"
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Ink, Screen
"Games" 2006 Original Abstract Hand Signed silkscreen Print Cuban Artist
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia De La Nuez (Cuba, 1959)
'Juegos', 2006
silkscreen on paper
19.7 x 23.7 in. (50 x 60 cm.)
Edition of 99
ID: GAR1649-003-104"
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Ink, Screen
"The Infinite Island" Artist Proof engraving abstract texture 42x71in (video)
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia de la Nuez (Cuba, 1959)
'La Isla Infinita', 2014
P/A (Artist Proof)
woodcut and collagraph on paper Velin Arches 300 g.
42.2 x 70.9 in. (107 x 180 cm.)
Edition of 20
I...
Category
2010s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Woodcut
Carlos Garcia De La Nuez Cuban Artist Original Hand Signed silkscreen
By Carlos García de la Nuez
Located in Miami, FL
Carlos Garcia De La Nuez (Cuba, 1959)
'No hay color', 1991
silkscreen on paper
19.7 x 27.6 in. (50 x 70 cm.)
Edition of 50
Unframed
ID: GAR1649-000-050
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
1990s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Engraving, Aquatint
"Love" 2003 Engraving in copper metal 15x19.5 in abstract
By Carlos García de la Nuez
Located in Miami, FL
Carlos Garcia de la Nuez (Cuba, 1959)
'Amor ', (Love) 2003
Engraving on paper
15 x 19.5 in. (38 x 49.5 cm.)
Edition of 20
ID: GAC-101
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Engraving
Carlos Garcia de la Nuez "El juego", 2005, Etching 28x40in
By Carlos García de la Nuez
Located in Miami, FL
Carlos Garcia de la Nuez (Cuban, 1959)
'El juego', 2005
Engraving
71 x 101 cm. (28 x 39.8 in.)
Edition of 99
Category
2010s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Etching
Carlos Garcia De La Nuez Cuban Artist Original Hand Signed engraving
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia De La Nuez (Cuba, 1959)
'El juego', 2005
engraving on iron
27.6 x 39.4 in. (70 x 100 cm.)
Edition of 106
ID: GAR1649-001-106"
____________________________________________
"Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Engraving, Aquatint
Carlos García de la Nuez, ¨Amor III¨, 2004, Engraving, 12.6x29.9 in
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia de la Nuez (Cuba, 1959)
'Amor III', 2004
engraving on paper Guarro Biblos 250g.
12.6 x 30 in. (32 x 76 cm.)
Edition of 50
ID: GAC-110"
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Engraving, Aquatint
Carlos García de la Nuez, ¨Desde una isla¨, 2005, Engraving, 28x39.8 in
By Carlos García de la Nuez
Located in Miami, FL
Carlos Garcia de la Nuez (Cuba, 1959)
'Desde una Isla', 2005
engraving on paper Velin Arches 300 g.
28 x 39.8 in. (71 x 101 cm.)
Edition of 99
Unframed
ID: GAC-111
Hand-signed by author
___________________________________________________________
Carlos García de la Nuez. Born in Havana, Cuba, 1959. Lives and works in Mexico City, Mexico.
He is a member of the renowned 1980s generation of Cuban artists, whose works differentiated from other contemporaries, noticeably in their intentional distancing from political criticism as a form of expression. This generation was interested in establishing and legitimizing new values of art for art’s sake, gathering inspiration from art movements happening outside of Cuba. Born in Havana, Cuba in 1959, the artist’s paintings explore abstraction and semiotics through the use of color, texture and scale. García de la Nuez participated in the historic 1982 exhibition titled 4x4 with colleagues Gustavo Acosta, José Franco and Moses Finalé.
In 1979 García de la Nuez entered the San Alejandro Academy of Arts and in 1983 completed his studies at the Instituto Superior de Arte in Havana. He received his Masters of Arts in 1988 from the Massachusetts College of Art and Design in Boston, upon receiving a scholarship from the Rockefeller Foundation. He spent a decade working and living in Paris, where he exhibited across Europe and was selected to participate in a silkscreen portfolio, Kinderstem, published by Domberger-Edition in Germany that featured García de la Nuez along with Max Bill, Sol LeWitt, Keith Haring, Christo, among others. In the early 1990’s García de la Nuez relocated in Mexico City, where he currently works and lives.
The artist’s works have been exhibited in various museums around the world including Boston, New York, Miami, Buenos Aires, Sao Paulo, Rio de Janeiro, Bogota, Mexico City, San Jose, Panama City, Canada, Paris, Berlin, Stuttgart, London, Madrid, Moscow and Havana.
His work has been awarded the Painting Award 13 de Marzo...
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Engraving, Aquatint
Related Items
"Portalito", Abstract Patterns, Geometric Abstraction, Woodcut Monoprint
Located in Philadelphia, PA
This piece titled "Portalito" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 7.25"h x 9.5"w.
Born in Mexico City, ...
Category
21st Century and Contemporary Contemporary Carlos García de la Nuez Abstract Prints
Materials
Panel, Monoprint, Woodcut
"Fish Dish"- Figurative Abstract Still-Life
By Morag Muir
Located in Soquel, CA
"Fish Dish" by Morag Muir (Scottish, b. 1960). Screen print on paper Signed "Morag Muir" and dated "87" lower right. Titled "Fish Dish" center and numbered "...
Category
1980s Abstract Expressionist Carlos García de la Nuez Abstract Prints
Materials
Printer's Ink, Laid Paper, Screen
Earth Cycle
By Hiroki Morinoue
Located in Lyons, CO
Color woodcut, Edition 30.
In all of Morinoue's work there is a compelling sense of place--the ocean shoreline, lava flows and Japanese gardens. He is a patient observer of nature...
Category
21st Century and Contemporary Contemporary Carlos García de la Nuez Abstract Prints
Materials
Woodcut
"India, " Abstract Woodcut and Monotype signed by Carol Summers
By Carol Summers
Located in Milwaukee, WI
"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco.
37.25 x 24.88 inches, artwork
48.5 x 35.5 inches, frame
Numbered 44 from the edition of 75
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...
Category
1990s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Monotype, Woodcut
$6,960
H 48.5 in W 35.5 in
Visual Aid for Band Aid SIGNED 104 British artists: David Hockney, Bridget Riley
Located in New York, NY
David Hockney, Bridget Riley, Joe Tilson, Howard Hodgkin, Peter Blake + 99 artists
Visual Aid for Band Aid - designed, and HAND SIGNED and annotated by 104 renowned artists, with official signed COA, 1985
Large olor silkscreen on velin Arches 300 gsm paper with publishers' blind stamp and COA
Signed and annotated in various inks and pencil by all 104 artists listed in the official publishers' COA affixed to the back of the frame; numbered 215/500
Publisher
Coriander Studio, United Kingdom
Frame included: Floated and framed in a wood frame under UV acrylic glazing
Measurements:
Framed:
59.5 inches (vertical) by 39 inches (horizontal) by .75 inches (depth)
Artwork:
48 inches (vertical) by 36 inches (horizontal)
Some of the 104 renowned visual artists who signed and annotated this print in pencil are:
Bridget Riley, David Hockney, Peter Blake, Allen Jones, Eduardo Paolozzi, Elisabeth Frink, R.B. Kitaj, Richard Hamilton, Howard Hodgkin, Joe Tilson, Patrick Heron, Paula Rego, Terry Frost, Patrick Caulfield, Craigie Aitchison. Gillian Ayres, Maggi Hambling, Michael Craig-Martin, Frank Bowling, Humphrey Ocean...
Category
1980s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Ink, Permanent Marker, Pencil, Screen
"Field Bird", Mid Century Modern Earthtone Abstract Serigraph with Bird
Located in Soquel, CA
Mid-century modern abstract serigraph with a bird by Howard Bradford (Canadian/American, 1919-2008), 1959. This limited edition figurative abstract pri...
Category
1950s Modern Carlos García de la Nuez Abstract Prints
Materials
Paper, Printer's Ink, Screen
$460 Sale Price
20% Off
H 12 in W 14 in D 1 in
Figurative Abstract Angel Screen Print with Poem, "Like a Breeze Passing"
By Deborah Rumer
Located in Soquel, CA
Ethereal figurative abstract print of two figures merging by Deborah Rumer (American, 20th Century). Titled "Like a breeze passing...", numbered (Ed100), signed, and dated (© Deborah...
Category
1990s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Screen
$375
H 12 in W 9 in D 0.03 in
Norcamphor from “40 Woodcut Spots"
By Damien Hirst
Located in Calabasas, CA
Artist: Damien Hirst
Title: Norcamphor from “40 Woodcut Spots"
Year: 2011
Medium: Woodcut on 410gsm Somerset White Paper
Edition: 43/55; signed (recto) and numbered (verso) in penci...
Category
2010s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Woodcut
Crabs, The World is Changing Lt Ed 126/150 skateboard deck political protest art
By Ai Weiwei
Located in New York, NY
Ai Weiwei
Crabs, 2010-11
Limited Edition, hand numbered Silkscreen on 100% Canadian 2-Ply Maplewood Skateboard. Signed on the deck
31 × 1 × 3/10 inches
Edition 126/150
Signed on the ...
Category
2010s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Wood, Ink, Mixed Media, Screen
$7,500
H 31 in W 8 in D 0.3 in
Fingerprint Face Abstract
By Joe Testa-Secca
Located in Soquel, CA
Captivating lithograph of Fingerprint scan with facial elements by artist Joe Testa-Secca (American, b. 1945), C. 1990. #155/175. Signed lower right. Presented in metal frame and mat...
Category
1990s Abstract Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Screen
Methionine, from 12 Woodcut Spots Damien Hirst Spot Print, YBA Abstract print
By Damien Hirst
Located in Bristol, GB
Woodcut in colours on Somerset White paper
Edition of 48
Signed on the front
Artwork in mint condition. Artwork not inspected outside of frame. Minor scratches throughout frame
Float...
Category
21st Century and Contemporary Contemporary Carlos García de la Nuez Abstract Prints
Materials
Woodcut
$35,973
H 24.73 in W 31.89 in
"The Wheel", Multi Layer Circle Abstract Silkscreen Print
By Deborah Rumer
Located in Soquel, CA
Colorful abstract screen print of a circular composition with a seasonal theme by Deborah Rumer (American, 20th Century). Titled, numbered, signed, and dated ("The Wheel Ed140 © Debo...
Category
1990s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Screen
$475
H 10 in W 8 in D 0.03 in
Previously Available Items
Carlos García de la Nuez, ¨Desde una isla¨, 2005, Engraving, 28x39.8 in
By Carlos García de la Nuez
Located in Miami, FL
"Carlos Garcia de la Nuez (Cuba, 1959)
'Desde una Isla', 2005
engraving on paper Velin Arches 300 g.
28 x 39.8 in. (71 x 101 cm.)
Edition of 99
ID: GAC-111"
Category
Early 2000s Contemporary Carlos García de la Nuez Abstract Prints
Materials
Paper, Ink, Engraving, Aquatint
Carlos García De La Nuez abstract prints for sale on 1stDibs.
Find a wide variety of authentic Carlos García de la Nuez abstract prints available for sale on 1stDibs. You can also browse by medium to find art by Carlos García de la Nuez in etching, ink, paper and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the contemporary style. Not every interior allows for large Carlos García de la Nuez abstract prints, so small editions measuring 24 inches across are available. Carlos García de la Nuez abstract prints prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $500 and tops out at $1,200, while the average work can sell for $600.