Sometimes the Spirit Touches Us Through Our Weaknesses
by James C. Christensen

The Latin post nubila phoebus  translates as “after clouds, sun” which is something like our saying “every cloud has a silver lining.” The iconic Christensen hunchback-as-Everyman is somber and a bit troubled. “The hump represents his troubles,” says Christensen, “and we all have them, but there is a little light at the place where the angel spirit’s finger touches the hump. I wanted to show how we grow from coping with adversity. Humbled by our weaknesses, we can be more open to things divine.”

The deceptively simple composition of this James C. Christensen Anniversary Edition contains many of the artist’s most defining elements and inspiration: the hunchback, the light of the spirit, the checkerboard floor representing the opposing aspects of life—light and dark, yin and yang— and a doorway to the unknown … combine to convey a story of  hope, recovery and new growth.

Anniversary Edition
Greenwich Workshop Fine Art Giclée Canvas:
edition size not to exceed 550.
12"w x 16"h.
$295
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Reflecting on Indian Beach
by Steve Hanks

With Reflecting on Indian Beach Steve Hanks shows just why he is regarded as the best watercolor artist painting in America today. It is a definitive combination of beauty, emotion and environment. “There is a big difference between the beaches of the Northern Pacific Coast and those down in Southern California,” says Hanks. “The surf rolls in over long shallow flats. The waves pound and boil for great distances, creating in the air thick moisture. This subtly diffuses the light creating an atmosphere palatably different than that on the beaches farther south.”

What began in his mind as a relatively straight-forward painting took Hanks over a month to create. He became absorbed in building the large reflective areas of the tidal flats. It seems as if we can reach in ourselves and run our fingers through the cool, moist sand at this serene and magical place where tree-lined mountains slip beneath the surface of the sea.

Greenwich Workshop Fine Art Giclée Print:
limited to 75 s/n.
30"w x 20"h.
$550
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Crossing the Big Sandy
by Bonnie Marris

Texas longhorn cattle were almost extinct by the 1920s since modern day ranchers preferred a breed that could fatten up quickly, and they no longer valued the longhorn’s ability to survive in high heat on little water, but lots of cactus, weeds and brush. Beginning in the 1930s, they were protected and bred in small stocks, mostly out of the idea of the romance of the Old West but later longhorns became popular for their lean, lower-cholesterol meat. Commercial ranchers now breed them with other cattle for their many strong traits including smarts and easy calving. Artist Bonnie Marris had the opportunity to drive these cattle across the river. “They are so wild, as in un-domesticated,” she said. “When you stand 20 feet away from one you feel like you are peering back into history, seeing what cattle were like before we got our hands on them.” They’re beautiful, intelligent and lean. Sounds like a breed apart.

MasterWork™
Greenwich Workshop Fine Art Giclée Canvas:
limited to 25 s/n.
40"w x 30"h (unstretched).
$975
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Pawnee
by Bonnie Marris

Pawnee is a portrait of the artist’s horse as a young’un. Bonnie Marris painted the foal’s father, Sonny Amigo Bar, in her Spirit Unbroken, a Greenwich Workshop fine art limited edition canvas and Masterwork from 2004 and Pawnee starred in Marris’s 2007 release, Terrible Twos. Marris delivered the foal herself and owns TJ, the mother. Everything about the portrait of this particular American Paint foal says it’s unique. Each sinewy muscle is visible. Her ears stand alert as the light shafts down from above. “She’s four now and I just love her,” said Marris. If you believe in reincarnation, you could do a lot worse than being a beloved horse of this artist in your next life.

Greenwich Workshop Fine Art Giclée Canvas:
limited to 100 s/n.
16"w x 20"h.
$395
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Fish Tales at Beaver Camp
by William S. Phillips

With no offense to the practitioners of the culinary arts, you just can’t beat the taste of a freshly caught trout, skillet fried on an open fire, a hundred miles from the nearest gas-range stove. Need we mention the view?  It was designed and built by Mother Nature herself.  As for Beaver Camp, well, you can find it anywhere you can land a de Havilland (DHC-2) Beaver, the work-horse float plane of the North Country. As for the fish tales themselves, a great deal of that depends of the company and the day. But as a rule of thumb, consider this: the wider the arms are spread, the greater the tale.

Fish Tales at Beaver Camp and Bill Phillips are featured in the August issue of Western Art Collector. As they say in the story, “Bill produces a sensitive and wonderfully composed landscape, and the depth and perspective of these paintings are outstanding.” We couldn’t agree more.

Greenwich Workshop Fine Art Giclée Canvas:
limited to 75 s/n.
18"w x 24"h.
$525
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Does It Get any Better? 
by John Weiss

Is someone being taught to “fetch?” or, is someone being taught to “throw?” If you think about it,  everything we understand about training something is in play. A behavior not genetically inherent to our survival is being impressed upon us through the will of another. We receive positive reinforcement for engaging in the behavior which encourages us to repeat it again and again. Even if we initiate the behavior, we generally do not stop until the canine has decided the behavior is complete. Heck, we’ll even fight over the stick just to get the chance to throw it again!

If the reward is a lifetime of loyalty and companionship, then this submission to another’s will is a glorious one. John Weiss has no equal when it comes to capturing this bond between man and dog. From capturing the mischievous gleam in a puppy’s eye to the long walks in the woods with your companion at your side, Weiss’ art constantly reminds us, Does It Get any Better? 

Greenwich Workshop Fine Art Giclée Canvas:
limited to 100 s/n.
20"w x 15"h.
$395
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A Helping Hand
by Morgan Weistling

I learned a lot about spinning wheels while painting this piece and how different threads and yarns were spun from fleece a century ago by pioneer women. It is a very quiet, serene and meditative art form that I witnessed as my model worked in my studio for hours as I painted. This is also the perfect backdrop for a two year old to wreak havoc and I am experiencing this part first hand in my studio every day with our child. One can imagine this mother’s reaction when she soon turns to see why her girl is being so quiet!

MasterWork™
Greenwich Workshop Fine Art Giclée Canvas:
limited to 25 s/n.
38"w x 36"h (unstretched).
$1350
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Greenwich Workshop Fine Art Giclée Canvas:
limited to 75 s/n.
24"w x 23"h.
$695
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