Ron Kleemann

Fire Engine, FNDY, Photorealist Silkscreen by Ron Kleemann

1979

Artist: Jack Beal, American (1931 - 2013) Title: Wisconsin Year: circa 1975 Medium: Lithograph, signed and numbered in pencil Edition: 50, AP 6 Size: 22 in. x 27.5 in. (55.88 cm x 69...

Artist: Paul Sarkisian, American (1928 - ) Title: Trash Can (From Documenta, The Superrealists, New York) Year: 1972 Medium: Lithograph, signed and numbered in pencil Edition: 300 P...

Artist: Ralph Goings, American (1928 - 2016) Title: Unadilla Diner Year: 1981 Medium: Silkscreen, signed and numbered in pencil Edition: AP 30 Image Size: 21 in. x 26 in. (53.34 cm x...

Artist: Ralph Goings, American (1928 - 2016) Title: Bulldozing International Year: 1981 Medium: Lithograph, signed and numbered in pencil Edition: 300; 40 AP's Image Size: 17 x 24 i...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Bluebird Year: 1981 Medium: Serigraph, Signed and Numbered in Pencil Edition: AP 5/25 Image Size: 27.5 x 35.5 inches Fram...

Artist: Charles Bell, American (1935 - 1995) Title: Little Italy Year: 1981 Medium: Silkscreen on White Somerset Satin, signed and numbered in pencil Edit...

La Terrazza Lithograph, 1987 Signed, titled and numbered in pencil (see photos) Published by Kandfall Press, Chicago (their stamp verso) Landfall drystamp recto lower left Edition 125 (92/125) Provenance: Stanley Yulish, Cleveland, Ohio Reference: Szoke 23 Condition: Excellent, never matted ir framed Image size: 19 3/4 x 15 1/2" Sheet Size: 27" x 22" "Jeanette Pasin Sloan's paintings, drawings, and prints display technical feats of virtuosity. The artist uses a photo-realistic style to depict reflective objects set against patterned backgrounds. However, she subverts both genre and style, infusing the traditional genre of still life painting with highly abstract tendencies. Closely-cropped, and set in carefully manipulated compositions, the subject matter of Pasin Sloan's work takes second stage to its formal intensity. Pasin Sloan was born in Chicago in 1946. She graduated from Marymount College, Tarrytown, New York, and received an MFA in graphic arts from the University of Chicago...

"Counterpoise" is an original color lithograph by Jeanette Pasin-Sloan. It features a number of brightly colored hyper-realistic shining glassware. The artist signed the piece lower ...

The facsimile print made on a paper with size of 100x70cm (39.3x27.5 in). The dominant colors are black and white with a greyish gamma. Describing the work of Timofey Smirnov we can say that you will find here a post-war telephone set and an ancient Egyptian relief...

Audrey Flack Rolls Royce Lady, 1984 Kodachrome 35mm Color Dye Transfer Print Dry, mounted to 4 ply 100% cotton fiber board Signed and titled in ink on the front 19 3/5 × 23 3/5 inche...

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...

The complete set of six mezzotints. Each signed, dated and numbered from the edition of 24 in pencil. Printed on mold-made Hahnemüller paper. Published by Pace Editions, Inc., New...