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At RedKalion, you can find virtually any artwork from any artist, available in a wide range of sizes to perfectly match your space.
If you didn’t find what you’re looking for, contact us at support@redkalion.com . We will source any artwork and produce it in any size and format you need, including art prints, posters, canvas, framed pieces, framed canvas, and more.
For dedicated art enthusiasts, we also offer handcrafted replicas of any artwork, carefully painted by highly skilled artists using traditional techniques.
For custom requests, contact us at support@redkalion.com .
What are the dimensions of this Lee Bontecou framed art print?
This fine art print measures 70x100 cm (28x40 inches) and is framed in a black wooden frame with a 20mm (0.79") thickness, making it wider than classic frames for a bold display.
What type of paper is used for this museum-quality reproduction?
We use archival museum-quality paper: 250 gsm (110 lb) weight, 0.29 mm (11.4 mils) thickness, with a matte, uncoated, natural white finish for optimal color fidelity and longevity.
Is this framed print ready to hang?
Yes, this ready-to-hang framed art print includes a hanging kit for immediate wall display, so you can enjoy it without additional setup.
How is the print protected in the frame?
The print is safeguarded with shatterproof plexiglass, ensuring durability and clarity while preserving the artwork's details in this black wooden frame.
Is the paper sustainable for this fine art print?
Yes, we use FSC-certified or equivalent sustainable paper materials, aligning with eco-friendly practices for our archival reproductions.
What makes Lee Bontecou's Untitled 1961 N1 significant in art history?
Untitled 1961 N1 is a key work from Bontecou's early career, blending sculpture and drawing to explore industrial themes and abstract forms in post-war American art.
What materials are used in the black wooden frame?
The frame is crafted from responsibly sourced oak and ash wood, offering a sturdy and elegant complement to this modernist art print.
