New works by Charming Baker are absolutely fantastic and charming

If you are able, stop by . Believe me, you won't be disappointed!

The prints are nice and my personal fav is the 'Love paves it's way' but I'm not sure I can rationalise spending that much $ - plus postage to the UK plus import duty?

Also like the new edition of half pint but it's also quite large and when framed will take on proportions of 85cm x 120cm so better value though higher edition size....

In many ways all priced correctly to market.

I've seen the price list for the NY show and the originals average 17k a pop!

Ouch! Never gonna own a CB og then!
Was in discussions to buy one for 2.5k a couple of years ago, but the oportunity to buy a Matt Small og portrait came up, and had been after one for a while, so plumped for that instead.
Oh well. Great for CB mind!

755mm x 1055mm - I asked that already!

always liked this set by artist Ceal Warnants via jealous gallery

'well,really'


'Michael's Mistake'


'The Heroine'


'Shotgun Clare'


www.jealousgallery.com/artist.asp?artistID=131

i love charming.... but the prices leaped too fast too suddenly... may alienate... leaving many unsold...hope the Green Day hype machine works....

Except for prints that is, we do have some of those left and Jealous has them to!

woah. good for him. super cool.

And now available on their website

Just read this online!

www.telegraph.co.uk/culture/art/artsales/7736004/Art-Sales-the-British-artist-charming-his-way-to-the-top.html

thanks guys! nice read.. although I'm not sure about the conclusion.. do not remember Charming Baker to be an anti at all..

That Daily Telegraph piece in full...


The British artist Charming Baker has caused a sensation in New York where Damien Hirst has been buying up his work in bulk.


By Colin Gleadell

A British artist who was discovered four years ago painting in the bedroom of his council flat in Greenwich, south-east London, has taken New York by storm with a sell-out show that attracted some of the biggest movers and shakers in the art world. Among those buying in bulk were Damien Hirst, Alberto Mugrabi, a collector and dealer who boasts the largest Andy Warhol collection in the world, and the Manchester-based super-collector Frank Cohen.

Charming (real name Alan) Baker left school at 15 to dig up roads before enrolling at Central St Martin’s School of Art to study graphic design and illustration in the 1980s. In the years that followed, he survived, bringing up a family of five children, by teaching part-time and doing odd jobs for clients such as the BBC and the Daily Telegraph.

In 2006, he was paid a visit by Tim Fennell, a graffiti-art enthusiast, who arranged an exhibition of Baker’s work at the Truman Brewery in London’s East End. Baker does not describe himself as a graffiti or urban artist, though he does share the anti-establishment attitudes of the urban art movement. “It’s an attitude I absolutely relate to,” he says. “Like when punk fired up a dull and complacent music industry. It’s like blasting a shot of warm air up the pin-stripe trousers of a previously stuffy art scene.”

With paintings selling for £3,000 or £4,000, the Brewery show was a success. However, Baker’s career took a more dramatic turn when he went to Los Angeles in 2008 to take part in a debate on urban art. Also there was Roger Klein, the creative director for one of the pop music business’s most successful managers, Pat Magnarella.

Having checked Baker out on the internet, Magnarella, who manages platinum-disc rock bands Green Day and Goo Goo Dolls, went to a local gallery that was showing his paintings, bought two, and then flew to London with a management deal.

Magnarella, who comes from the “I don’t know much about art, but I know what I like” school, wanted, he said, “to use my experience of nurturing the careers of musicians to create a similar platform for talented artists”. Baker’s work struck him as “beautiful, funny, and a little bit evil, tinged with black humour”. And so a deal was struck.

Baker’s first show under new management was in June 2009 in Shoreditch in east London. It sold out. But the biggest step forward was a chance meeting that summer between Klein and a friend of Damien Hirst’s at the Groucho Club. It prompted Hirst to look at Baker’s website, and his enthusiasm was fired. “It’s hard to say exactly what makes a painting great,” says Hirst. “Its flatness and its depth, its ease and its complexity, a kind of preciousness that’s also kind of throwaway, a risk factor. Who gives a damn? Charming Baker’s paintings are great.” Hirst’s recommendation was a breakthrough.

Baker’s latest show is at the New York Studio Gallery, a rentable space on the Lower East Side in what is now a busy music club area. That it was a healthy distance from Chelsea, the main gallery district, didn’t matter. The Magnarella publicity machine took over. “I’m not interested in the art world getting to know about my artists,” says Magnarella. “I’m interested in getting the world to know about them.” Ten thousand fly posters were pasted up in the hippest streets of Soho, Greenwich Village and Brooklyn. On the pavements, more than 20,000 postcards were handed out, and as many emails sent in a blitz that was “like a new record campaign”, says Klein. Outside the gallery, a 40ft banner was hung that could be seen a mile away.

Klein estimates that nearly 1,000 enthusiasts poured into the three-storey gallery on opening night last Thursday. To the sound of the DJ’s club music, £10,000 of limited-edition prints, priced from £70 to £500, were sold. Everyone was given a free signed print. But the bigger sums had already been spent. Hirst, Mugrabi and Cohen all bought before the opening at prices that had increased to between £12,000 and £16,500 each. Now, collectors are offering double that to obtain one, and galleries are making overtures.

Baker, the honest artisan from working-class Yorkshire, is slightly bemused. He has arrived, and suddenly the establishment he once derided is beckoning.