Charles Bell

"Double Bubble" silkscreen by Photorealist painter Charles Bell Edition of 150

Circa 1990

Hand-numbered in front lower left corner. Hand-signed in front lower right corner. Framed under glass in natural wood frame. Framed dimensions are 32 1/2 x 24 1/2 inches. Image size ...

"Tiger Music (Book of LOVE)" silkscreen print from a portfolio of 12 original poems and 12 original prints by artist Robert Indiana. Edition 58/200. The prints in the portfolio were ...

ROBERT COTTINGHAM Star, from American Signs portfolio, 2009 screenprint in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) signed, dated `2009' and numbered edition of 100 in pencil -- Robert Cottingham B. 1935, BROOKLYN, NEW YORK Born in 1935 in Brooklyn, Robert Cottingham is known for his paintings and prints of urban American landscapes, particularly building facades, neon signs, movie marquees, and shop fronts. After serving in the U.S. Army from 1955 through 1958, he earned a BFA at Pratt Institute, Brooklyn, in 1963. Cottingham began his professional artistic career as an art director for the advertising firm Young and Rubicam in the early 1960s. Although he is typically associated with Photorealism, Cottingham never considered himself a Photorealist, but rather a realist painter working in a long tradition of American vernacular scenes. In this respect, his work often draws parallels to a number of American painters such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Cottingham’s interest in the intersections of art and commerce derive from his career as an adman and the influence of Pop art. Many of his paintings convey an interest in typography and lettering, as well as an awareness of the psychological impact of certain isolated words and letters. In his facades, techniques from advertising, namely cropping and enlarging, often produce words of enigmatic or comical resonance such as “Art,” “Ha,” or “Oh.” Cottingham’s enlarged sense of scale is reminiscent of James Rosenquist’s work, while his interest in text suggests the influence of Robert Indiana and Jasper Johns. In general, Cottingham viewed his work as continuing the legacy of Pop artists such as Andy Warhol, who also had a background in advertising. In 1964, Cottingham relocated to Los Angeles for work. There, inspired by the drastically different environment of the West Coast metropolis, he began to commit seriously to painting. Fascinated by Hollywood’s exaggerated glitz and the downtrodden atmosphere of the downtown, Cottingham saw in Los Angeles the relics of a bygone commercial heyday and desired to capture its kitschy and uncanny atmosphere, bathed in the near perpetual sunlight of Southern California. In 1968, Cottingham ended his advertising career in order to devote all his time to painting. In the late 1960s, he started using photography in his practice, first as an initial reference point for his process. After selecting a photograph, he translates it into black-and-white drawings by projecting the image onto gridded paper...

Anna Harley Creation IV Limited Edition Print Screenprint on Somerset Satin Paper, printed to the deckle paper edge Edition of 30 Size: H 39cm x W 39cm x D 0.5cm Signed Sold Unframed Please note that any insitu images are purely an indication as to how a piece may look. Anna Harley is a professional fine art screen-printer, making prints at Spike Print Studio in Bristol. She has a Masters Degree in Multi-Disciplinary Printmaking and lives in South Bristol. Her handmade prints are produced in limited editions, so each print is an original artwork, not a reproduction of an artwork made in a different medium. She says, "the screenprinting process suits my practice, because it allows me to build images in fine layers of ink, printing layer upon layer until I am happy with the final print. I use a combination of drawing, digital photography and objects directly exposed on the screen, to create these individual layers. I enjoy the tension this creates in my images – is the print based on a drawing or photograph? Is it attached fabric, pencil marks or ink? While engaged in the creative process, I try to stay open minded about how the finished print will look, to allow the print to make itself – print is an extremely process led way of making art and allowing the unexpected to happen and taking advantage of these happy accidents allows the work to stay fresh and exciting." She is inspired by how it feels to be outside, tree silhouettes, passing seasons, the weather, and the sky and how it changes from sunrise to evening. "I love things that sparkle and twinkle. I often use metallic pigments and, in a move that fully embraced my inner kitsch, I have recently made a snow print using white glitter. " Anna’s work is rooted within the Landscape tradition, while the fabric textures in her prints are an echo of her Scandinavian Arts and Crafts...