Lee Bontecou (b. 1931) is an important and unique contributor to American sculpture and abstraction during the 20th century.

At the very end of the 1950s Bontecou began exhibiting innovative and radical works:  sculptures that hung on the wall. Using an array of mostly discarded or utilitarian materials, such as mail sacks or broken machinery, Bontecou created 3-dimensional works that were highly ambiguous and intriguing.

In 1967, a year before making this print, Bontecou spent her summer in the countryside of Pennsylvania and significantly changed her approach and aesthetic. She ceased making large steel-and-canvas structures and began to construct organic, representational forms, such as flowers and fish, out of transparent plastic and other diverse materials. Bontecou began creating more work, that was not three-dimensional including prints and drawings. 

This work is an exquisite paradigm of her practice during this era - an organic form that still recalls machinery, the future and the mechanization of the natural world. 

Similar to Louise Nevelson, over the last decade Bontecou's work and contribution to American Art has been rediscovered and re-affirmed by art historians, curators and collectors. There is tremendous movement in her reputation and market. This is an ideal piece for a (young) collector interested in American abstraction, sculpture or women artists. 

This work can be found in several museum's permanent collection including the MoMA, amongst others. 

Questions about this product? Contact us or call +1.844.440.4287

"Tenth Stone"

Signed, dated and numbered by the artist in pencil to margin

USA, 1968

Lithograph, from an edition of 33 

41"H 27"W (work)  

Printed and published by Universal Limited Art Editions, West Islip, New York.

Very good condition.

Detailed condition report by request 


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