Robert Cottingham Prints and Multiples

Robert Cottingham Everybody's Bookshop, Everybody's Books, 1975 Color Lithograph 23 × 18 inches Signed and numbered from the edition of 200 in pencil on the front; Bears Artist's cop...

Robert Cottingham is known for imagery that celebrates the history of communications in America, specifically neon signage on urban storefronts and signs on railroad cars. In 2008, Lincoln Center commissioned Robert Cottingham to commemorate the 46th anniversary of its Film Festival. Inspired by his earlier photographs of the Empire Theatre in Montgomery Alabama...

ROBERT COTTINGHAM Art, 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...

Robert Cottingham's Rolling Stock series is a significant part of his artistic portfolio, focusing on railroad imagery. The series features hand-colored etchings, collographs, and mo...

Robert Cottingham's Rolling Stock series is a significant part of his artistic portfolio, focusing on railroad imagery. The series features hand-colored etchings, collographs, and mo...

Robert Cottingham Blues, 2009 Screenprint in colors on wove paper 38 1/4 × 37 in 97.2 × 94 cm Edition of 100 From American Signs Series Hand-signed by artist, signed, editioned, tit...

Artist: Robert Cottingham Title: Fox, from American Signs Medium: Screenprint in colors Year: 2009 Edition: HC 2/10 Sheet Size: 40" x 39" Signed: Hand signed and numbered

Robert Cottingham Blues (The Original), 1989 Color aquatint on wove paper Edition 31/45 Pencil signed and numbered by Robert Cottingham on the front Framed This is the original, stri...

Two Color Offset Lithograph on Wove Paper by photo realist star Robert Cottingham Pencil signed, titled and numbered from the edition of 150 on the front This hand signed, titled and...

Artist: Robert Cottingham Title: Rialto, from American Signs Medium: Screenprint in colors Year: 2009 Edition: HC 5/10 Sheet Size: 40" x 39" Signed: Hand signed and numbered

Robert Cottingham Don't Walk, 1985 Three color Linoleum Cut on Paper Pencil signed, inscribed to Bryan and annotated TP Published by Chip Elwell Fine Prints Trial Proof (unique) This is a Trial Proof that Robert Cottingham inscribed, annotated and gifted to Bryan Konefsky, his longtime studio assistant in both Newtown, CT and Santa Fe New Mexico. Only one other example - a variant - of this early print, exists and is in the collection of the Smithsonian. Due to the untimely death of printer Chip Elwell in October of 1986, only two proofs in the woodcut medium were pulled: the present work, which Cottingham gifted to his longtime studio assistant, and the one at the Smithsonian. Furthermore and in another interesting turn of events, Elwell's studio was burglarized shortly after his death and among the items stolen were the original wood blocks for DON'T WALK. This is an historic work; and the only one available on the market. Measurements: Framed: 15 inches x 13.5 inches x .3 inches Artwork 12 inches x 10.5 inches Robert Cottingham Biography Robert Cottingham (b.1935, Brooklyn, NY) is recognised for his Photorealist paintings of American urban landscapes, particularly his depictions of painted and neon shop signs...

Robert Cottingham Blues, from the American Signs Portfolio (hand signed by Robert Cottingham), 2009 Screenprint in colors on wove paper Pencil signed, numbered 66/100, dated, and tit...

Artist: Robert Cottingham, American (1935 - ) Title: Rolling Stock Series: For Armyn Year: 1992 Medium: Aquatint Etching, signed, numbered and titled in pencil Edition: 43/60 Im...

Robert Cottingham (b. 1935) “Rolling Stock #27." Woodbock, 1992. 26 blocks, 40 colors. Image Measures: 10 1/4" H x 13 ½" W. Edition: 100. Robert Cottingham is an American Pop-artis...

Color offset lithograph. Signed and numbered 2/100 in pencil by Cottingham. This work is based on the same-titled color screenprint by Cottingham.

Robert Cottingham (1935) Empire 2008 Screenprint in colors Image: 25.625 h x 39.875 w in (65 x 101 cm) Sheet: 32.75 h x 46 w in (83 x 117 cm) Signed, titled, dated and numbered to ...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

Each hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Each sheet size: 38 x 37. Each image size: 32 x 32. Certificate of Authenticity included. Complete Suite, edition 69/100. Published by Greg Smith...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

Robert Cottingham Nite, 2009 Screenprint in colors on wove paper 38 1/4 × 37 in 97.2 × 94 cm Edition of 100 From American Signs Series Hand-signed by artist, signed, editioned, titl...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37. Image size: 32 x 32. Certificate of Authenticity included. Published by Greg Smith...

ROBERT COTTINGHAM HI FI, 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' a...

ROBERT COTTINGHAM Blues, 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' a...

ROBERT COTTINGHAM M, 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 n...

ROBERT COTTINGHAM NIte, 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' an...

ROBERT COTTINGHAM Rialto, 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' ...

ROBERT COTTINGHAM Drinks, 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...

ROBERT COTTINGHAM Champagne, 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 `2...

ROBERT COTTINGHAM Fox, 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' a...

ROBERT COTTINGHAM Hi, 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' an...

ROBERT COTTINGHAM Hot, 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...

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...

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...