Robert Cottingham More Prints

This artwork titled "The City 's Conscience" 2006 is an original color serigraph by Ukrainian/American artist Anatole Krasnyansky. It is hand signed and numbered 45/495 in black ink by the artist. The artwork size is 24 x 17.5 inches, framed size is 29.5 x 23 inches. Custom framed in a wooden black and gold frame, with fabric liner. It is in excellent condition. About the artist: Anatole Krasnyansky (born in 1930; Kiev, Ukraine) is a Ukrainian-American artist who has gained prominence by pioneering a new watercolor technique. Krasnyansky added paper texture as a component of his watercolors. With this new process, Krasnyansky added texture and depth to the watercolor medium and expanded its expressive possibilities to a level usually associated with oil painting. Biography He was born in Kiev, growing up and living during the times when Ukraine was a part of the U.S.S.R. Krasnyansky received master's degrees in fine art and architecture. He found that the freedom of expression that he needed in his artwork could not be found within the strictures of the Soviet Union and moved to the United States in 1975. In the U.S., Krasnyansky found valuable use for his knowledge of architecture, design and his imagination. and found success in multiple artistic pursuits. Almost surreal, Krasnyansky’s figures are recognizable form while incorporating elements of his Eastern heritage, the cubist ideas of Picasso and Braque, and as well as American culture. Accomplishments Krasnyansky began working as a scenic artist for ABC and CBS, including the production of two Academy Awards shows. He became a set designer for Universal Studios (credits including The Blues Brothers and Battlestar Galactica...

Alexander Calder The original Los Angeles County Museum of Art poster, 1965 Limited Edition vintage Offset Lithograph 32 × 24 3/4 inches 81.3 × 62.9 cm Edition of 300 This is the OR...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful e...

Helen Frankenthaler (after) Frankenthaler: The Darker Palette (autographed and inscribed), 1998 Offset Lithograph print 42 × 35 in hand signed "Frankenthaler" lower left; inscribed a...

Takashi Murakami Superflat Exhibition Poster 1999: Rare 1990s exhibit poster designed by Murakami and published by Marianne Boesky Gallery New York...

James Siena at PACE Gallery, 2019 Offset lithograph exhibition invitation (Hand signed by James Siena) 19 1/2 × 14 1/2 inches Unframed This exquisite fold...

Adolph Gottlieb Guild Hall is for Everyone, 1970 Rare Abstract Expressionist Offset Lithograph poster Vintage metal Frame included Rare vintage, limited edition, offset lithograph ...

VICTOR VASARELY VASARELY CENTER NY Vintage original vintage Op-art poster published by VCNY (Vasarely Center New York), New York, 1978. Poster size - 32 x 24 inches, unframed, unsi...

Helen Frankenthaler (after) A Paintings Retrospective: vintage LACMA Museum poster, 1990 Offset lithograph museum poster (Unsigned & Unnumbered) 37 × 25 inches Unframed This was printed in the artists lifetime - making it more collectible - on the occasion of the exhibition, "Helen Frankenthaler: A Paintings Retrospective from February to April, 1990 at the Los Angeles County Museum of Art (LACMA) Print is published by Editions Limited Galleries, San Francisco for Los Angeles County Museum of Art (LACMA), LA, CA The work depicted is Helen Frankenthaler, The Bay, 1963, acrylic on canvas, Detroit Institute of Arts, Michigan (Incidentally, this beautiful work is featured on the cover of the book Water and Art' by David Clarke.) “What concerns me when I work is not whether a picture is a landscape… or whether somebody will see a sunset in it. What concerns me is, did I make a beautiful picture?” - - Helen Frankenthaler This is Frankenthaler's first silkscreen, produced for the portfolio New York Ten, which includes works by other New York-based artists at the time such as Roy Lichtenstein, Jim Dine, Tom Wesselmann and Claes Oldenburg. (She created her first lithograph in 1961) Other examples of this edition are found in the permanent collections of the Museum of Modern Art, MOCA Chicago, the Metropolitan Museum, the Philadelphia Museum, the Art Institute of Chicago, and numerous regional museums and institutions in the United States and worldwide. Helen Frankenthaler, A Brief Biography Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

Katie Edwards Joy II Limited Edition Silkscreen Print Edition of 50 Image Size: H 40.5cm x W 50.8cm (Please note that in situ images are purely an indication of how a piece may look). Joy II escaping on a carousel horse conveying the theme of Joy perfectly. This illustration was the winner of the 2014 Bridgeman Studio Award. Limited print run of 50, 4 colour silk screen print on Fabriano Ruvidi 200gsm paper. Each one is screen printed by hand, making each one unique. Signed by the artist Katie Edwards. Katie Edwards produces conceptual illustrations for a wide range of clients from weekly editorials to large and prestigious ad campaigns. Screen prints for sale by Katie Edwards focusing on conceptual ideas, symbolism and metaphors. The innovative juxtaposition of elements often result in a surreal, humorous or thought-provoking image. Art has been a big part of Katie Edwards life and education, right through to graduating from Leeds Metropolitan University in Graphic Arts and Design with a First Class Honours. Working in London for five years as an artist and graphic illustrator, moving to Canada for two years and undertaking commissions’ for clients including Delta Airlines and Converse Shoes...

Sean Scully Roland Garros French Open tennis tournament, Paris, France (Hand signed by Sean Scully), 2001 Offset lithograph poster (hand signed by Sean Scully) 29 3/4 inches (vertica...

This print has a deep blue background and brightly colored red and orange billiards balls. John Gibson has been painting delicate still-life arrangements of balls since the 1990s. T...