American Realist Still-life Prints

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: White and Violet Iris Year: 1982 Medium: Screenprint, signed and numbered in pencil Edition: 200, AP 40 Image Size: 30 x 2...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: White Iris on Black Year: 1982 Medium: Silkscreen, signed and numbered in pencil Edition: AP 40 Image Size: 31.5 x 25 inch...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: Three Irises Year: 1980 Medium: Serigraph, signed and numbered in pencil Edition: 200 Image Size: 30 x 30 inches Size: 37 ...

Artist: Lowell Blair Nesbitt, American (1933 - 1993) Title: White Rose Year: 1981 Medium: Silkscreen, signed and numbered in pencil Edition: 200 Image Size...

Artist: Robert D.H. Bidner, American (1930 - 1983) Title: Kittee Year: circa 1978 Medium: Chromograph, signed in ink l.r. Size: 21 x 31 in. (53.34 x 78.74 cm)

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...

Cluster of Grapes in Folded Napkin Etching, 2006 Signed and numbered by the artist (see photo) Edition: 25 (8/25), see photo Printed on Hahnemuhle pa...

'CONE, an iconic still life image featuring the “tragedy” of a dropped ice cream cone. The artist came to see dropped cones as fleeting promises of joy. Whether devoured or dropped, ...

This artwork titled "Trumpeteers" 1976 is an original wood engraving by Russian/American artist Leon Gilmour, 1907-1996. It is hand signed, titled, dated ...

The prints are all sold UNFRAMED. Stott’s work is almost object portraiture, applying traditional still life compositions and lighting but ventures beyond time honored subject matte...

Christopher Stott's prints are all sold UNFRAMED. Stott’s work is almost object portraiture, applying traditional still life compositions and lighting but ventures beyond time honor...

ROBERT COTTINGHAM American Signs portfolio, 2009 The complete set of twelve screenprints in colors, on wove paper, with full margins, 40 1/8 x 39 1/8 in (101.9 x 99.4 cm) all signed, dated `2009' and numbered edition of 100 in pencil, published by Exhibit A Fine Art and Editions and American Images Atelier, New York, all in excellent condition, contained in original gray silk-covered box with artist and title embossed with gold foil. 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...