May 2011 Catalogue Test

Greenwich WorkshopThe

N o r t h A m e r i c a ’ s L e a d i n g P u b l i s h e r o f F i n e A r t E d i t i o n s

M a y 2 0 1 1

EssEntial artfor Your Home

w w w . g r e e n w i c h w o r k s h o p . c o m

151 Main St., Seymour, CT 06483203/881-3336 | 800/243-4246

North America’s leading publisher of fine

art editions from today’s most sought-after

artists. Available only through a network of

Authorized Fine Art Dealers in the United

States, Canada and the U.K. We have been

enriching lives through art since 1972.

On the Cover: Frederick the Literate (detail) by Charles Wysocki

Prices shown are suggested retail excluding any applicable tax. ©May 2011 The Greenwich Workshop,® Inc. All rights reserved.

GreenwichWorkshop

The

The Greenwich Workshop Catalogue is a showcase of the latest releases from our family of artists. Catalogue also features previous releases from artists, but repre-sents only a small portion of our complete fine art collection. To view the entire Greenwich Workshop Fine Art collection, visit: www.greenwichworkshop.com

Fine Art Limited Edition information: Each release appearing in Catalogue is accom panied by its Fine Art information. Here is a sample with definitions:

Greenwich Workshop Fine Art Giclée Canvas:

limited to 100 s/n. 19"w x 24"h.

$375

Canvas is the type of Fine Art Edition. Each canvas is accompanied by a brass title plate except SmallWorks™.

s/n signed by the artist and consecutively num ber ed (unless otherwise noted).

Sizes (w x h) listed in Fine Art information are the width and height dimensions of the image area except where noted.

Prices shown are in U.S. dollars.

For more information on fine art editions, see our insert in the center of this issue.

Detail GalleriesThroughout Catalogue you will see group-ings of artist’s images in color bars at the bottom of their respective pages. These are generally small details of larger images. Visit the web address provided to see an artist’s entire portfolio.

A reminder that throughout this Catalogue, you will note the following

symbol “M” appearing beneath certain images. This denotes images that are presented in a hand-crafted Montgomery Frame.

Daniel Long Soldier

The Lakota Wicitowa (Lakota Paintings) of Daniel Long Soldier are some of the purest expressions of American art we’ve ever presented to collectors. They are authentic, uniquely Native American and riveting; Sioux warriors count coup on Custer, Crazy Horse pursues Custer’s scouts and Crow Dog’s wife rescues a fellow Lakota. Artist Tom Gilleon corresponded with Daniel, an Oglala Lakota Sioux, regarding Tom’s project Soldiers Falling into Camp (pages 4-5). Long Soldier offered to help him with some ideas for the pictographs that Gilleon wanted to place on the tepees in his painting. These “ideas” arrived in the form of 10 paintings Long Soldier had created on antique ledger paper. The drawing style and the paper from the 1800s immediately raises curiosity over whether we were looking at something created 140 years ago or today. Six paintings have been combined into Day of Yellow Hair, a diptych that can be purchased with matching numbers to Gilleon’s Soldiers Falling into Camp or on its own. Four additional Lakota Wicitowa are available individually (pages 4-5). Visit www.greenwichworkshop.com/ LongSoldier to see these images in de-tail and to learn more about Daniel Long Soldier.

Day of yellow Hair

Greenwich Workshop Fine Art Giclée Diptych Print:limited to 50 s/n. 15"w x 29"h each. $250 (framing not included).

Arriving June 2011

All

artw

ork

thes

e tw

o pa

ges

©Lo

ng S

oldi

er

3

To learn more about R. Tom Gilleon, visit www.greenwichworkshop.com/gilleon

©Lo

ng S

oldi

er

SolDierS falling into Camp

R. Tom Gilleon

Sitting Bull and the Plains Indian warriors gathered along the banks of Little Bighorn River did not panic when camp scouts reported the approach of the U.S. Cavalry. During a Sundance not long before, Sitting Bull experienced a vision of a great number of dead Union “soldiers falling into camp” from the skies. It was a sign, he felt, of a great victory to come. “This painting, thanks to Daniel Long Soldier, has become a far more important piece than I could have imagined,” artist R. Tom Gilleon enthusiastically relates. “I had wanted to give an accurate depiction of the area where Custer met his end and tell some of the Little Bighorn story from the Indian’s point of view. Daniel’s Lakota Wicitowa (Lakota Paintings) of real warrior’s exploits, which I’ve used as the pictographs on the tepees, add a spirit to the piece that I couldn’t have achieved myself. “The ribbon of river you see is the Little Bighorn. From a vantage point such as this, it would

be hard to see the true size of Sitting Bull’s encampment. On the Plains, American soldiers were used to encountering villages of 50 to 60 lodges. In a landscape such as this, it’s easy to see why they would have had trouble see-ing just how many Indians were waiting below.” The MuseumEdition™ of Soldiers Falling into Camp is intended to be accompanied by Daniel Long Soldier’s diptych Day of Yellow Hair with the first 20 of that edition reserved to create collectible sets with matching numbers. Collectors can also pair the individual prints of Long Soldier’s drawings with the smaller Fine Art Giclée Canvas Edition. Gilleon’s previous editions of Tribal Tripartite and Shadow of the Sixth are Sold Out at Publisher. Soldiers Falling into Camp will certainly follow suit.

Greenwich Workshop Fine Art Giclée Canvas:limited to 25 s/n. 74"w x 37"h (unstretched). $2750Arriving June 2011

Greenwich Workshop Fine Art Giclée Canvas:limited to 50 s/n. 34"w x 17"h. $625 (ships gallery wrapped).

Arriving June 2011

4

To learn more about R. Tom Gilleon, visit www.greenwichworkshop.com/gilleon

©R

. Tom

Gill

eon

©Lo

ng S

oldi

ermoving robe woman

tHe taunt

laSt arrow

Crazy HorSe witH Hail markingS

©Lo

ng S

oldi

er

Also available...Complete your collection of Daniel Long Soldier’s

pictograph account of the Battle of the Little

Bighorn with these four ledger drawings,

available separately, to complement his diptych

shown above. For a close up view visit:

www.greenwichworkshop.com/LongSoldier

Greenwich Workshop Fine Art SmallWorks™ Giclée Paper:limited to 75 s/n. 12"w x 71/2"h each. $65(framing not included)

Arriving June 2011

5

The Art of Howard Terpning® | native american storyteller

All

artw

ork

thes

e tw

o pa

ges

©H

owar

d Te

rpni

ng®

To learn more about Howard Terpning,® visit www.greenwichworkshop.com/terpning

among tHe SpiritS of tHe long-ago people

You know a painting is special when it’s the piece in an exhibition that the collectors just stand in front of for a long period of time and simply don’t say word. And, they keep coming back to do it again and again. If interrupted, they’ll return to it, intent on having the opportunity to enjoy a great work of art. And in case we hadn’t picked up on that at the Masters of the American West art show this past February, the phone calls coming in to ask us, “When are you going to release it as a Fine Art Edition?” were certainly another clue that demand would be high for this particular giclée canvas.

The winner of the 2011 Thomas Moran Award for Painting, Among the Spirits of the Long-Ago People is a magnificent work. Terpning begins with a simple common premise; the grandeur of nature can be sacred. He relates that emotion not by creating a landscape painting, but by focusing on the reverence these men have for what they see. The petroglyphs show that this is an ancient understanding. These men knew it to be so in their time, just as we do today. Their silence, as they take in the wonder about them, is not unlike that of the collectors we saw view this work for the first time. “Petroglyphs on rock formations indicate that the visitors are in a spiritual place,” describes Howard Terpning, “a place blessed by the long-ago people. Numerous locations like this exist throughout Montana and Wyoming, sometimes high on a mountain with a spectacular view of Mother Earth. For centuries, Indian people have made the journey to these sacred places to give thanks for their blessings and to pray for success in hunting and in battle. Today, they continue to visit these sacred places as their forebears did, leaving small pieces of trade cloth and handmade objects decorated with beads or feathers as gifts for the gods.” Among the Spirits of the Long-Ago People is available as a Fine Art Canvas. At 33” x 35” it is an impressive work that will majestically fill any large space. Our carefully crafted giclée canvas will give you the experience of owning this great work of art for significantly less than the price the original captured in February. Also available is a more moderately sized and wonderfully priced Fine Art Giclée Paper. Both editions, truly faithful reproductions of the original, are signed by Howard Terpning and numbered. Collectors who waited too long to commit to last Fall’s The Legend of Geronimo missed out on what is a beautiful (and now hard-to-come-by) canvas or paper edition. Don’t wait too long and miss out again!

Howard Terpning®

Greenwich Workshop Fine Art Giclée Canvas:limited to 200 s/n. 33"w x 35"h $1450 (Framing not included).

Greenwich Workshop Fine Art Giclée Paper:limited to 175 s/n. 21"w x 22"h $295 (Framing not included).

Hawk featHerSGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 300 s/n. 9"w x 9"h. $245

6

The Art of Howard Terpning® | native american storyteller

To learn more about Howard Terpning,® visit www.greenwichworkshop.com/terpning 7

SHakeSpeareanfantaSy keyTo download a copy of the key visit:www.greenwichworkshop.com/shakespeare

James C. Christensen: The Movie!

James C. Christensen was the subject of a new documentary by Barry McLerran and Rick Stout that pre-miered on April 18 on BYU-TV. The hour-long documentary explores his life, his family, artistic inspirations and his prolific career from his early musical talent to his life as a fine artist and professor. Collectors of Christensen will recognize many of their limited edition prints, up to and including the artist at work on the 2011 release The Chess Match. The program was broadcast as part of BYU-TV’s “Iris” series. Check http://www.byutv.org for repeat broad-casts and a streaming video link.

Greenwich Workshop Fine Art Giclée Canvas:limited to 40 s/n. 72"w x 48"h (unstretched). $2950

Greenwich Workshop Fine Art Print:limited to 500 s/n. 281/2"w x 19"h. $225

Greenwich Workshop Fine Art Giclée Canvas:limited to 300 s/n. 36"w x 24"h. $695

tHe CHeSS matCH

All

artw

ork

thes

e tw

o pa

ges

©Ja

mes

C. C

hrist

ense

n

faitH, Hope anD CHarity


Greenwich Workshop Fine Art Print:Sold Out at Publisher. Ask Your Dealer for Availability.

Greenwich Workshop Fine Art Giclée Canvas:Sold Out at Publisher. Ask Your Dealer for Availability.

8

To learn more about James C. Christensen, visit www.greenwichworkshop.com/christensen

The Art of James C. Christensen | the art of imagination

James C. Christensen

SHakeSpearean fantaSy

“I’ve had a lifelong love affair with Shakespeare’s works. Of all the artists—and certainly of all the playwrights and poets—who have ever lived, Shakespeare comes closest to my ideal” says James C. Christensen. “If I took all my best artistic qualities and exaggerated them to become some sort of creative superhero, I like to think I’d be a lot like Shakespeare. “This painting was commissioned by the Utah Shakespearean Festival. People ask me, ‘Why do you only have some of his plays represented here?’ My answer is always the same: ‘The other plays are on the back of the island, just go around!’ Seriously, a few of the references are tough, so you may need to revisit your Shakespeare to get them all. “The Bard had such a deep and intimate understanding of the human condition, so much so that his plays, which were written nearly a half-millennium ago, are still being performed. Why? Because the messages, trials and joys of his characters are universal and because they are beautifully expressed. The pleasure of reading Shakespeare’s sonnets or attending a performance of one of his plays is in his finely crafted language. He says things the way I wish I could say them.”

Greenwich Workshop Fine Art Giclée Canvas:limited to 150 s/n. 21"w x 40"h (unstretched). $950 (Framing not included).

Arriving May 2011

Greenwich Workshop Fine Art Giclée Canvas:limited to 250 s/n. 15"w x 29"h. $495 (Framing not included).

Arriving May 2011

9

©E

stat

e of

Cha

rles W

ysoc

ki, I

nc.

To learn more about Charles Wysocki, visit www.greenwichworkshop.com/wysocki1 0

The Art of Charles Wysocki | americana

To learn more about Charles Wysocki, visit www.greenwichworkshop.com/wysocki

Charles Wysocki1928-2002

freDeriCk tHe literate

Holy Cats! It’s A Tale of Two Kitties. Want to learn How to Smell a Rat? Is there anything you want to know about Caterwaul’s Catalog of Hairballs but were afraid to ask? There’s a very specialized library in Frederick the Literate, arguably Charles Wysocki’s most beloved cat painting and it’s available for the first (and last!) time

in a giclée canvas edition for a very small group of collectors who order this Anniversary edition published by the Greenwich Workshop as a Personal Commission. The edition will be limited to the exact number of collectors who order it by June 30, 2011. After that date, no more orders will be taken and no more gicleé canvases will be produced. These are every cat’s dream books from Field Guide to the Garbage Can to Delicious Field Mice I Have Known by international best-selling catty writers such as Thomas Cheshire and Kitty Mewpur. Frederick the Literate himself, exhausted from all this study, sleeps soundly, dreaming of the next big catch. “We’re both cat lovers and this painting is dedicated to Frederick,” said the artist.” “He was one of our favorite cats, if not the favorite. Fred was Mr. Wonderful but now he’s in the library in the sky. Although we’re all very dedicated and serious about our artwork, there is always time for humor. As soon as we came up with the idea, we knew what we had to do it. My wife Liz and I spent our breakfasts, lunches and dinners thinking about the book titles for this painting, including Cat-o Nine Tales, Rat Holes of the World and The Catebury Tales. This is one of those cases when after all these years of doing more subtle ‘story’ humor, all my more obvious puns were piling up. They had to come out!”

Greenwich Workshop Fine Art Giclée Canvas:Edition determined by the number of prints ordered by June 30, 2011. 21"w x 23"h. $495 (Framing not included).

Arriving May 2011

Commission Your Edition Before Time Runs Out!Orders Must be placed by June 30, 2011

What is a Personal Commission?The Personal Commission was created by The Greenwich Workshop, Inc. as a way for all customers who so desire to collect an artist whose fine art editions often sell out and are difficult to find. Collectors “commission” their personal copy of a given edition during a set period of time. Delivery of completed edition begins shortly after the edition size is determined by the total number of orders received during the Commission Period. This Fine Art Anniversary Giclée Canvas edition will be limited to the number of prints ordered during the commission period May 1, 2011 - June 30, 2011. Confirmation of the final edition size will be sent July 5, 2011.

©E

stat

e of

Cha

rles W

ysoc

ki, I

nc.

1 1

The Art of Steve Hanks | l ife’s tender moments

To learn more about Steve Hanks, visit www.greenwichworkshop.com/hanks

The Art of Charles Wysocki | americana

roCklanD breakwater ligHt

gay HeaD ligHt weSt QuoDDy HeaD ligHt tHe tHree SiSterS of nauSet - 1880

Sentinels of the Sea Series

©E

stat

e of

Cha

rles W

ysoc

ki, I

nc.

All

artw

ork

this

page

©St

eve

Han

ks

The first in Charles Wysocki’s Sentinels of the Sea series, this painting was inspired by the Rockland Breakwater lighthouse in Maine. Charles liked to tell stories in his paintings, and along the New England seacoast he found them everywhere, from whaling museums, to captain’s houses, to 19th century lighthouses. A member of the U.S. Lighthouse Society, Charles loved to paint both real and imagined New England lighthouses. “They are unique expressions of human creativity,” said the artist. “Physically, they represent triumphant solutions to complex engineering problems. Emotionally, they conjure peril, rescue and poetry.” Start your Sentinels of the Sea lighthouse collection with Rockland Breakwater Light, where warmth glows from every window and a palpable sense of adventure is in the air as you leave your on-shore worries behind knowing that this grand dame will watch over you.

Greenwich Workshop Fine Art Giclée Canvas:edition not to exceed 75 numbered. 19"w x 16"h. $395 (Framing not included).

Arriving May 2011

To learn more about Charles Wysocki, visit www.greenwichworkshop.com/wysocki1 2

The Art of Steve Hanks | l ife’s tender moments

To learn more about Steve Hanks, visit www.greenwichworkshop.com/hanks

Summer rain

baby batHGreenwich Workshop SmallWorks™ Fine Art Giclée Paper:limited to 200 s/n. 12”w x 8”h. $95


Arriving June 2011

The beauty and seem-ing simplicity of this Steve Hanks painting gives little hint of the complexity within it. Each child interacts with the rain differ-ently. As we grow older our perspective broad-ens and nowhere is this more obvious than with children. As with many Hanks paintings, Summer Rain is a metaphor for life. The um-brella and companionship offer these girls shel-ter from passing storms. They will master the simple steps of living and then apply them to life’s harder challenges. “This is a recent painting I did on Clayboard,” says artist Steve Hanks, “a surface that still amaz-es me as a watercolor artist. The colors are brighter, the rainwater and reflections are even more realistic.” Summer rain is a passing neces-sity for everything that grows and a thing of wonderment to the young. Bring a little Summer Rain into your home or business with this new release from Steve Hanks.

Steve Hanks

1 3

©E

stat

e of

Fra

nk C

. McC

arth

y

The Art of Frank C. McCarthy | the dean of western action

Frank C. McCarthy1924-2002

CHange in tHe winDThe Crows called themselves Absaroke, loosely translated as “the Raven People.” They dominated rich hunting areas but at the cost of routinely defending their territory from neighboring tribes. North of the Crow were the Blackfoot; the Sioux and Cheyenne were to the east. Bright colors demonstrate a sense of pageantry in this Crow war party. The red square on his horse’s right shoulder identifies the leader whose buffalo headdress is adorned with beadwork. This determined group of warriers has left blue sky behind and but are suddenly called to a halt. What, or more likely who, has captured their attention? This never-before-published McCarthy painting, presented in a giclée canvas edition, has the look and feel of the artist’s original work of art.

Greenwich Workshop Fine Art Giclée Canvas:limited to 75 and numbered. 20"w x 28"h. $595 (Framing not included).

Arriving June 2011

To learn more about Frank C. McCarthy, visit www.greenwichworkshop.com/mccarthy1 4

©C

assa

ndra

Bar

ney

The Art of Cassandra Barney | the feminine mystique

Mary Magdalene was created as a result of an invitation to Cassandra Barney to appear in an Artist Guild International show called Art of the Restoration in Salt Lake City. The artists are commissioned to create a piece of art based on their own vision of a gospel theme. “I envisioned the scene at the tomb and wondered about Mary Magdalene, after her conversation with the resurrected Savior. I pictured Mary in thoughtful relief,” says the artist. “The elements represented in this painting all have symbolic meaning. The cross was constructed from the dogwood tree. The white dogwood blossoms fall around the figure to symbolize the suffering that is past. Ivy symbolizes the path where Christ walked. Primula is a flower of compassion and also a symbol of resurrection. The crocus represents the resurrection and heavenly bliss. A chrysan-themum was present when Christ was laid in the tomb. Easter Lilies symbolize the pure soul’s resurrection and the Oriental poppy symbolizes Christ’s blood. The passionflower that Mary holds represents Christ’s wounds and the begonia symbolizes the heart of Jesus. “The egg hanging in the tree was inspired by a story I read about Mary and the Roman Emperor Tiberius. Mary Magdalene, following the death and resurrection of Jesus, arranged to meet Emperor Tiberius. She held an egg in her hand and exclaimed ‘Christ is risen!’ Tiberius said that was as likely as the egg in her hand turning red while she held it, where upon the egg in her hand turned a bright red. Mary went on to talk about the life and teachings of Jesus to the imperial gathering.”

Cassandra Barney

mary magDalene



To learn more about Cassandra Barney, visit www.greenwichworkshop.com/barney 1 5

The Art of June Carey | gifts from the land

To learn more about June Carey, visit www.greenwichworkshop.com/carey

©Ju

ne C

arey

SunflowerS of CaStiglion fiorentino

June Carey

In Tuscany, against the foothills of the Apennine Mountains, sits the small, walled-city of Castiglion Fiorentino. It is in magical places such as this that the soul of the region resides. It is here, in the shadow of the ancient stone tower, Il Cassero, that cultivated fields and Old World charm thrive. “On the peaceful flatland of the Val di Chio, just below the city, I climbed out onto the floor of this field of sunflowers,” reminisces June Carey. They were tall and I wanted to stand among them, to look up and see the sun glowing through their golden crowns. “These large girasole are just now reaching their full maturity and are covered with a million buzzing bumble bees. Their heads are heavy with the seeds and have begun to lean over with the weight. The petals droop gently down across their giant smiling faces. Too heavy to follow the sun, the flowers simply remain facing east.” “Sometimes I park outside the main gate of the city and walk up into the busy streets to go to my

local post office or shop for a local wine or book. There is a coffee bar and pizza place just outside the massive, medieval gate, where old men always sit playing poker, laughing and talking. The old women are never with them. They are inside the village walls hanging out the clothes to dry above the narrow streets, running small shops, buying fresh bread for the day and talking loudly to each other. Their voices echo noisily within the ancient stone walls.” You might not have a home in Tuscany, but with the art of June Carey you can enjoy Tuscany in your home!


Arriving June 2011


Arriving June 2011

1 6

The Art of Dan Smith | wildlife experience

Heavy HitterS

All

artw

ork

this

page

©D

an S

mith

“Living close to Yellowstone National Park has its advantages,” relates Dan Smith, “especially when the bison rut is at its peak in July and August. There are three to four thousand bison in the park gathering in groups of 50 to 300. If you put yourself in the right place, you’re really going to see the dust fly.” This access gave Dan a leg up at this year’s Masters of the American West Exhibition and Sale where the 30" x 48" Heavy Hitters took home the 2011 Bob Kuhn Wildlife Award for best wildlife painting. “It’s an incredible honor,” Smith states with awe. “I’m the youngest to have been selected for this award. You always hope that your work will be recognized, but never expect it. To be included in the ranks of Bob Kuhn, Tucker Smith, Ken Carlson and Kent Ullberg is a privilege.” Heavy Hitters’ focus is the look in the eyes of a 2000 pound, six-feet tall by twelve-feet in long bison in rut that lets you know he means business. The ferocity of this intent combined with all that mass is an extraordinary display. The snorting and pawing of dirt builds to the point where the two males make contact. You know by the look in his eyes that this is the real deal.

Daniel Smith



Greenwich Workshop Fine Art Giclée Paper:limited to 100 s/n. 243/8"w x 15"h. $195 (Framing not included).

Summit SanCtuaryGreenwich Workshop Fine Art Giclée Canvas:limited to 75 s/n. 34"w x 17"h. $695

1 7

To learn more about Judy Larson,® visit www.greenwichworkshop.com/larson

The Art of Judy Larson® | search for the spirit within

©Ju

dy L

arso

n®

looking for love

thE spirit Within

Many of Larson’s paintings contain a hidden image. To see images hidden within Larson paintings visit:

www.greenwichworkshop.com/larsonkey

HorSe inDian wolfThe Hidden Pictures of Judy LarsonGreenwich Workshop Fine Art Book by Kathleen Kudlinski48 pages, 25 full-color illustrationsISBN: 978-0-86713-150-5 9"w x 12"h. $16.95

In many ways, lone wolves look for love in much the same way that humans do. Finding a suitable mate, getting along well, courting and marrying and ultimately raising a family together are inherent in both species. For the lone male wolf, however, he must leave the protection and companionship of his original pack, sometimes roam long distances and search for a female wolf who has set off on a similar mission. These quests take place during the breeding season, when scent is important and both wolves are compatible and ready to start an active courtship. A pair might also meet quite accidentally, but most often the howling of a lone wolf, which can carry a mile or more, will signal to a potential partner that love is in the air. If that call receives a response, the two wolves locate each other by continuing to howl. Courtship ensues and there is much grinning, kissing and “talking.” If one, or neither, wolf is ready to breed at this point,

they will spend days and sometimes several weeks together first, romping, playing, hunting, resting and feeding. They will wander in search of new territory, being careful not to intrude on, or invade, another pack’s territory. Love has blossomed and a new family is born.


Arriving June 2011

Judy Larson®

1 8

Bonnie Marris

The Art of Bonnie Marris | wild expressionsThe Art of Judy Larson® | search for the spirit within

Summer fielDS

Pick an art magazine and the chances are that they have recently, or are preparing to, publish a story on the artist Bonnie Marris; most recently SouthWest Art, Western Art Collector and Art of the West magazines. She’s invited to participate in more of the major art shows than she can possibly supply and the invitations continue to pour in. The paintings she finishes apart from exhibitions are completed for major galleries. Collectors are drawn to Bonnie Marris’ paintings because the love she has for the animals she paints simply radiates from the canvas. This exhilaration is contagious as Marris’ skill with the brush and empathy for her subject brings to life the joyous freedom of the wild. One of the secrets to the success of her work is showing her subjects engaged in activities that we can easily relate to without imposing human interpretations upon the actions of animals. With Summer Fields we have a perfect example of such a Marris work. Warm summer winds are blowing the leaves and grasses. The sun heats the colors and edges until they blend into one another. Horses’ tails swish and calmness blankets the field. They rest together, best buddies, massaging each other’s backs and listening to distant breezes.



All

artw

ork

this

page

©B

onni

e M

arri

s

morning muSeS



To learn more about Bonnie Marris, visit www.greenwichworkshop.com/marris 1 9

The Art of Z. S. Liang | the modern west

lakota warriorS, little bigHorn, June 25, 1876

The original works of Z.S. Liang are quickly becoming unattainable. Offerings of his new paintings are, more often than not, handled by draw or silent bid. At this year’s Masters of the American West at the Autry National Center, col-lectors never even had the chance to bid on his silent-auction entry. That painting won the Purchase Award for 2011, so the museum

had already secured it for their collection. “During late 1875 and early 1876,” begins Liang, “young warriors were slipping away from their agencies to join bands of non-treaty Indians in the country east of the Bighorn River. American government authorities, in response to reports of this, ordered all Lakota bands to return to their reservation by February 1 or face the consequences. Sitting Bull, Crazy Horse and the other leaders not only ignored the order, they were determined to fight for their freedom. “By mid-June, Sitting Bull and his followers were camped along the Little Bighorn River. And the U.S. Army was on their way to force the Indians to return. On June 25, Lieutenant Colonel George Armstrong Custer and approximately 250 Seventh Cavalry solders attacked this Indian village. They found themselves confronted by an enormous encampment thronging with furiously committed warriors. They were quickly surrounded and annihilated in what American history would refer to as ‘Custer’s Last Stand.’ “Known to the Indians as the Battle of the Greasy Grass, this painting focuses on the combined tribes celebrating their victory. The main figure is a Lakota warrior. He is holding, as his trophy, a Seventh Cavalry 35 Star guidon. (This unit marker became official in 1862 and was still in use when Custer rode west.)” Z.S. Liang’s Lakota Warriors is available as both a Fine Art Giclée Canvas and Fine Art Giclée Paper. Both are produced to The Greenwich Workshop’s and Liang’s exacting standards specifically for collectors like you. Remember, the only Z.S. Liang you could possess that’s finer would be the original work of art itself.

Z. S. Liang


Greenwich Workshop Fine Art Giclée Paper:limited to 150 s/n. 18"w x 231/2"h $295 (Framing not included).

To learn more about Z. S. Liang, visit www.greenwichworkshop.com/liang

tHe grizzly Claw neCklaCe

The Great Plains grizzly bear has been extinct for over 100 years but when this species was abundant, a grizzly claw necklace was a coveted goal and prized possession. The wearer was regarded as brave and as one who possessed great medicine. The number of claws signified the number of grizzly bears a hunter had confronted. Only the front claws were used so twenty claws meant the wearer had met with at least two grizzlies, no small feat since the grizzly could take a bullet (or two!) and still keep charging. Of course a necklace could also be won in battle, as the reward for killing an enemy who wore it. The claws would be mounted on a core which was then covered in otter fur. When Plains grizzlies became rare, necklaces were made from Rocky Mountain grizzlies or the claws would be carved from elk antler, a painstaking and exacting process that earned nearly as much respect as trophy claws from a bear killing. Sold for $42,500, this Z.S. Liang painting was the top-seller at the 2010 National Museum of Wildlife Art’s largest annual fundraiser.

Greenwich Workshop Fine Art Giclée Canvas:limited to 75 s/n. 12”w x 16”h. $295Arriving May 2011

2 0

All

artw

ork

thes

e tw

o pa

ges

©Z

. S. L

iang

To learn more about Z. S. Liang, visit www.greenwichworkshop.com/liang 2 1

To learn more about William S. Phillips, visit www.greenwichworkshop.com/phillips

Engaging the EnemyBY WILLIAM S. PHILLIPS

On April 18, 1942, 16 B-25s carrying 80 men emerged from the Pacific sky to launch an historic attack on the central island of the Japanese empire proclaiming with unexpected force that war was coming to the Japanese homeland. The crew of Plane 10 (#40-2250) engaged and eluded as many as seventeen Japanese fighter aircraft as Lt. Joyce piloted the B-25 across the hostile skies of Japan and on to China.

Signed by Doolittle Raiders

2 2

©W

illia

m S

. Phi

llips

The Art of William S. Phillips | the glory of fl ight

To learn more about William S. Phillips, visit www.greenwichworkshop.com/phillips

engaging tHe enemy

William S. Phillips

On April 18, 1942 a group of 16 B-25s carrying 80 men emerged from the Pacific sky to launch an historic attack on the central island of the Japanese empire proclaiming with unexpected force that war was coming to the Japanese homeland. Lt. Richard O. Joyce and the crew of Plane 10 (#40-2250) engaged and eluded as many as seventeen Japanese fighter aircraft throughout their mission. S/Sgt. Edwin W. Horton’s twin-50s in the top turret played a crucial role in keeping the enemy at bay as Lt. Joyce piloted the B-25 across the hostile skies of Japan and on to China. Sixty-nine years later, only five of the original 80 airmen that flew on the Doolittle Raid on Japan remain. Just enough to man a single B-25, one last crew. Time has been kind and granted you the opportunity to own an authentic piece of Doolittle Raider history, but that door is closing. The print and canvas editions of Engaging the Enemy will be signed by the actual Raiders attending their 69th reunion. Engaging the Enemy was painted specifically for the 69th Omaha reunion, home to pilot Richard O. Joyce. The fine art canvas is an exact replica of William S. Philllips’ original 24” x 24” painting. Only by spending tens of thousands dollars for the original could you possess something better. The edition is limited to just 50 copies, so only a few will have the chance to own one. The fine art print is three pieces of art in one. Two printed remarques, original Phillips pencil renderings of a Mitsubishi Zero and Crew 10’s Mitchell B-25 Bomber, enhance the entire presentation and frame the Raider’s signing area. The reproduction quality of this giclée paper is second to none. You will own, with the print or canvas, a true and authentic historical document. No other artist has developed the deep relationship that Phillips has with the Doolittle Raiders. “Remembering the sacrifices of brave men and women helps us become more aware of how we should view this great country and the freedoms we so often take for granted,” says Bill Phillips. “This art helps us to keep these memories alive and gives us something to pass on to the next generation.”


Countersigned by: Col. Richard E. Cole, Col. Robert Hite, Major Edward Saylor, Maj. Thomas Griffin and S/Sgt. David J. Thatcher

Greenwich Workshop Fine Art Giclée Paper:limited to 250 s/n. 23"w x 23"h $395

Countersigned by: Col. Richard E. Cole, Major Edward Saylor, Maj. Thomas Griffin and S/Sgt. David J. Thatcher

Richard E. Cole ColonelCo-Pilot Crew 1

Robert L. Hite ColonelCo-Pilot Crew 16

Edward Joseph Saylor MajorEngineer Crew 15

Thomas Carson Griffin MajorNavigator Crew 9

David J. Thatcher Staff SergeantEngineer-Gunner Crew 7

william S. pHillipS’ engaging tHe enemy will be SigneD at tHe 69tH reunion by tHe five raiDerS in attenDanCe . . .

Engaging the EnemyBY WILLIAM S. PHILLIPS

2 3

The arT by asTronauT and arTisT alan bean depicTs, for The firsT Time in hisTory, a world oTher Than our

earTh, painTed by an arTisT who acTually wenT There.

firSt men: neil a. armStrong

Astronaut and artist Alan Bean at his easel.

A few of Alan Bean’s exceptional art implements.

A detail of First Men: Neil A. Armstrong shows the unique texture of the original painting that will be recreated in this Textured Giclée Canvas.

This Greenwich Workshop Fine Art Edition Textured Canvas gives the collector the most authentic reproduction of artist Alan Bean’s original art from his brushstrokes, to his unique moon-inspired texture of the painting surface. Hang this piece of Apollo history on your home or office wall and watch your guests sneak a light touch of the irresistible surface. The work of artist Alan Bean conveys the

sense of space travel not only through subject and color but also texture. The tools that once helped him explore the moon, now help him put the moon’s stamp on many of his paintings. Prior to painting the image, Bean covers the painting’s surface with a texturing material. He then uses exact replicas of his Moon boots to make footprints across this surface that are just like all the Apollo boot prints remaining on the moon today. Next he uses the same geology hammer he worked with on the Apollo 12 mission to dig into the painting’s surface. Finally, a sharp edged bit from one of the core tubes is used to make round indentations in the surface. “I guess every astronaut wanted to be the first man on the Moon. I know I did,” says Alan Bean. “And if we couldn’t be the first, we at least wanted to be one of the first. Apollo 11’s crew got the opportunity to make the first attempt. Neil, Buzz and Mike flew a perfect flight and went into the history books; but all 400,000 Americans that helped make Apollo a success are in that history, too. “I think this painting is exactly how Astronaut Neil Armstrong looked as he took the now-iconic photo of his lunar companion, Buzz Aldrin,” says the artist. “It is the image we would see in Buzz’s gold visor in my painting First Men: Edwin E. “Buzz” Aldrin if we could look close enough.”

Greenwich Workshop Fine Art Textured Giclée Canvas:limited to 75 s/n. 30"w x 40"h (unstretched). $1350 (Framing not included)

Arriving June 2011

Greenwich Workshop Fine Art Giclée Paper:limited to 200 s/n. 18"w x 24"h. $295 (Framing not included)

Arriving June 2011

Alan Bean

To learn more about Alan Bean, visit www.greenwichworkshop.com/bean2 4

All

artw

ork

thes

e tw

o pa

ges

©A

lan

Bea

n

To learn more about Alan Bean, visit www.greenwichworkshop.com/bean2 5

leoparD lounge by Guy CombesGreenwich Workshop Fine Art Giclée Canvas:limited to 35 s/n. 32"w x 22"h. $695

luCky CatCH by Bonnie MarrisGreenwich Workshop Fine Art Giclée Canvas:limited to 75 s/n. 36"w x 24"h. $795

naptime by John Weiss

Greenwich Workshop Fine

Art SmallWorks™ Giclée Canvas:

limited to 100 s/n. 12"w x 9"h.

$195

tHe artiSt by Morgan WeistlingGreenwich Workshop Fine Art MasterWork™ Giclée Canvas:limited to 15 s/n. 30"w x 40"h (unstretched). $1250


beStSelling baCkliSt

little Star by James BamaGreenwich Workshop Fine Art Giclée Canvas:edition not to exceed 75 s/n. 12"w x 16"h. $295

DauntleSS againSt a riSing Sun by William S. PhillipsGreenwich Workshop Fine Art Giclée Canvas:edition not to exceed 100 s/n. 36"w x 24"h. $1250

2 6

eagle DanCer potawatomi by Z. S. LiangGreenwich Workshop Fine Art MasterWork™ Giclée Canvas:limited to 15 s/n. 25"w x 40"h (unstretched). $1950


beyonD a young boy’S Dream by Alan BeanGreenwich Workshop Fine Art Giclée Canvas:limited to 125 s/n. 21"w x 14"h. $395

little Star people by R. Tom GilleonGreenwich Workshop Fine Art MasterWork™ Giclée Canvas:limited to 15 s/n. 37”w x 31”h (unstretched). $1250

Greenwich Workshop Fine Art Giclée Canvas:limited to 45 s/n. 24”w x 20”h. $575

tHree graCeS by Cassandra BarneyGreenwich Workshop Fine Art Giclée Canvas: limited to 75 s/n. 30"w x 18"h. $595

tHe olDeSt angel by James C. ChristensenGreenwich Workshop Fine Art Giclée Canvas:edition not to exceed 350 s/n. 13"w x 17"h. $395

tHe artiSt by Morgan WeistlingGreenwich Workshop Fine Art MasterWork™ Giclée Canvas:limited to 15 s/n. 30"w x 40"h (unstretched). $1250


All artwork these two pages ©respective artists. 2 7

All

artw

ork

thes

e tw

o pa

ges

©M

orga

n W

eist

ling

tHe DanCe

Most of artist Morgan Weistling’s art depicts scenes from the mid-to late-1800s rural American life, a time of the settling and defining values of our country. In 2001, The Dance made Weistling the youngest person ever to win the Prix de

West Award—he also won the Nona Jean Hulsey Buyers’ Choice Award—from the National Cowboy and Western Heritage Museum, Oklahoma City, Oklahoma where it is now in the museum’s permanent collection. Morgan’s daughter, Brittany, posed for this painting. “Looking back 10 years, I can still feel the music and remember the inspiration that stirred this idea,” says Morgan. “Brittany and I were visiting a Cowboy Poetry and Music festival, she began to dance to some musicians much like in the painting. I later re-created that scene in my studio. I will always cherish the memories of Brittany and I dancing together as the musicians played for us.” This darling slip of a girl with a white apron dances on wooden floorboards worn smooth enough to twirl barefoot. We can almost feel the vibration of the music ourselves as the men lean into the rhythm and the expression of the music in her dance step. It’s been a long week of hard labor but tonight that melts away in a spirit of shared music and joy. Weistling’s star continues to rise. He sold all four entries in 2011 to the Masters of the American West Exhibition and Sale at the Autry National Center, where he won the Patron’s Choice Award for the third time.

Morgan Weistling



Greenwich Workshop Fine Art Giclée Paper:limited to 250 s/n. 22"w x 171/2"h. $195 (Framing not included).

Winner of the 2001 Prix De West Purchase Award!

To learn more about Morgan Weistling, visit www.greenwichworkshop.com/weistling

Sienna’S tea by Morgan WeistlingGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 150 s/n. 12"w x 9"h. $245

2 8

The Art of Morgan Weistling | american impressionist

To learn more about Morgan Weistling, visit www.greenwichworkshop.com/weistling 2 9

Miniature art is an important part of any collection and SmallWorks is the way to start yours. Such works are often a collector’s first purchase be-cause they are less expensive. A single small jewel of art can be that final, elegant touch in fine décor. On the other hand, a wall filled with framed miniatures makes for an impressive display of a collector’s unique style and range of interests. Go to www.greenwichworkshop.com/SmallWorks for the details on these and other SmallWorks.

SmallWorks™

butterfly knigHt by James C. ChristensenGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 300 s/n. 9"w x 12"h. $225

CHoCtaw afternoon by William S. PhillipsGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 75 s/n. 9"w x 12"h. $225

Greenwich Workshop Fine Art SmallWorks™ Giclée Paper:limited to 250 s/n. 9”w x 12”h. $95

logging on by Daniel SmithGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 150 s/n. 10"w x 10"h. $225

fearleSS by Judy Larson®

Greenwich Workshop Fine Art SmallWorks™

Giclée Canvas:limited to 75 s/n.

6"w x 9"h. $125

Mounted on Archival Gatorboard™

All artwork these two pages ©respective artists.

morning Dew by Stephen LymanGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 100 signed by Andrea Lyman and numbered. 6"w x 13"h. $165Mounted on Ampersand hardboard

olD frienD by tHe Sea

by John WeissGreenwich Workshop Fine Art SmallWorks™

Giclée Canvas:limited to 75 s/n.

11"w x 9"h. $195

CouSinS by Bonnie MarrisGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 125 s/n. 14"w x 11"h. $195

inDian roDeo performer by James BamaGreenwich Workshop Fine Art Giclée Canvas:limited to 75 s/n. 12"w x 15"h. $275

3 1

SmallWorks™

To order from this issue or for more information about Greenwich Workshop art, contact the authorized dealer listed above who sent you Catalogue or call 800-243-4246.

moon anD Saturn by R. Tom GilleonGreenwich Workshop Fine Art SmallWorks™ Giclée Canvas:limited to 100 s/n. 12"w x 12"h. $245

gentle tiDe by Steve HanksGreenwich Workshop Fine Art SmallWorks™ Giclée Paper:

limited to 200 s/n. 6"w x 17"h. $125

©St

eve

Han

ks

©R

. Tom

Gill

eon

Go to www.greenwichworkshop.com/SmallWorks™ for the details on these and other SmallWorks.™

Date post:	07-Mar-2016
Category:	Documents
Upload:	scott-usher
View:	229 times
Download:	4 times

May 2011 Catalogue Test

Documents