Description:

Offered here is a visually compelling pair of limited edition abstract screenprints by contemporary artist David Roth, each hand-signed, dated, and numbered in pencil. Executed in 1979 and 1980 respectively, these works exemplify the disciplined geometric structure and sophisticated optical color experimentation associated with late twentieth century Op Art and geometric abstraction.

The first print, titled Untitled, 25 and dated 1979, presents a vertically structured chromatic composition constructed from hundreds of precisely arranged rounded-square color units. Through the careful placement of these individual elements, Roth builds a luminous gradient transitioning from deep indigo and violet tones through rich reds and rust hues before resolving into earthy greens and yellow-green tones near the base of the composition. The dense color matrix produces subtle optical blending that shifts depending on the viewer’s distance from the work.

The second print, titled Untitled, 7 and dated 1980, explores a horizontal chromatic transition using the same grid-based system. Warm orange tones on the left gradually move through saturated reds and violets before dissolving into cool blue tones toward the right side of the composition. The tightly structured arrangement of color units produces a rhythmic optical vibration that rewards close inspection as well as distant viewing.

Both works are hand-signed David Roth and dated in pencil in the lower right margins. The impressions are numbered 144/150 and 132/150 respectively, confirming their place within small editions limited to only 150 impressions each. Editions of this size are considered scarce in the field of contemporary fine art printmaking, particularly for works demonstrating such meticulous technical execution.

The prints are executed on heavyweight fine art wove paper with wide margins typical of professional studio printmaking of the period. The complex dot matrix printing method required to produce these works involves numerous precisely aligned color applications, reflecting a high level of craftsmanship and technical control.

Both prints remain in strong collectible condition with vivid, well-preserved color and clean image areas. The sheets retain their original full margins and show no evidence of trimming. The print Untitled, 25 (1979) exhibits a small incision measuring approximately 1 inch along the top margin. This flaw is confined entirely to the margin and does not extend into or affect the printed image area. Otherwise, both works present very well with no visible staining, fading, or restoration observed.

The pairing of these two prints produced in consecutive years offers collectors a visually harmonious set illustrating the artist’s continued exploration of color interaction and geometric structure within a highly refined printmaking process.

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April 5, 2026 11:00 AM EDT
Stouffville, ON, CA

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