The Arrival
by Bev Doolittle®

The first sight of buffalo ignites excitement within a party of scouts. The lives of these men and these animals are entwined together on the vast map of the Great Plains. The arrival of the buffalo will herald many celebrations. The Creator has bestowed an answer to the tribe’s prayers with a gift of rain and endless herds.

A season of provisioning begins, as the resourceful Nnatives prepare to utilize every part of the bison for clothing, shelter, tools, weapons and food.

A continuance of harmony and thanksgiving will propel the tribe for another year. Or, is there a storm-warning on the horizon? - Bev Doolittle

It seems that with every artist there are works that manage to make it into private collections before they are properly documented. Some of these can, in hindsight, be rather important ones. They are known to exist, but their whereabouts are a mystery. As is often the case, in time, they somehow, some way, some day reappear.

Bev painted The Arrival in 1977 and sold it through the Carson Gallery in Denver, Colorado, her originals distributor at that time. The work’s trail ended there. Long thought lost, the painting was recently rediscovered! In the thirty-year period since its rendering, Bev has produced fifty Fine Art Editions, as well as seven books and folios of collected works, all published by The Greenwich Workshop. Until now, The Arrival remained elusive.

Available in print for the very first time, it is one of the earliest works featuring the rendering style Bev has become renowned for. Storytelling is a hallmark of nearly all of her compositions, and The Arrival is no exception. The palette and design are instantly recognizable. Both are in service of the eponymous “Doolittle narrative” which has shaped the artist’s reputation.

Storytelling through design is the hallmark of any Bev Doolittle work, and The Arrival is no exception. There is no escaping the implication of a “storm on the horizon.” Those dark clouds immediately bring to mind the Native American experience in North America. This is storytelling through design at its finest.

The Arrival will be reproduced with an eye towards tradition but with the most up-to-date technology. This Fine Art Giclée will be created on the highest quality fine art textured paper. Deckled edges allow for either a traditional or floating presentation of the framed image.

Greenwich Workshop Fine Art Giclée Print:
limited to 2500 s/n.
35"w x 6"h.
$345

Sunrise in the Golden Gate, Down Easter Benjamin Packard
by Christopher Blossom

Winner of the 2010 Prix De West Purchase Award!

The top honor at the Prix de West art exhibition and sale, hosted by the National Cowboy and Heritage Museum is the Prix de West Purchase Award, the work chosen to be purchased for the Museum’s permanent collection. It is one of the most coveted prizes in the field today. Christopher Blossom’s Sunrise in the Golden Gate; Down Easter “Benjamin F. Packard" was selected for the award from a field of 110 of the country’s finest artists who presented 346 paintings at this year’s show. Past winners of this award include Howard Terpning®, Morgan Weistling, Curt Walters, Tom Lovell, Wilson Hurley, Tucker Smith and James Reynolds.

Now you can own one of the few large-format Masterwork™ Fine Art Giclée Canvases of this award-winning image. A Greenwich Workshop artist since 1983, Chris is the most highly regarded and collected maritime artist painting today.
A work of Christopher Blossom’s fine art is considered the height of craftsmanship in maritime art. In his 21 years of participation in the Prix De West, Chris Blossom has three times been chosen by his fellow artists for the Robert Lougheed Award. His bold design and impeccable rendering capture the mood and mystical experience of men at sea.

Each work is also the work of an ardent historian, as is apparent in Chris’ telling of the story behind the painting:

As the sun just peeks over the mountains to the east, the ship Benjamin  F. Packard passes through the Golden Gate and into San Francisco Bay.    
                
Built in Maine in 1883, the Benjamin  F. Packard was a type of vessel known as a Down Easter.  Named for their place of building, down east where sufficient stands of timber still stood near the shipyards, these last of the wooden square rigged ships were larger with more cargo capacity than their predecessors, the clipper ships. They were able to carry sail longer thanks to their rugged construction and were capable of very credible passage times.  These attributes made them a commercially viable option particularly on the long and rough Cape Horn passages until they were supplanted by steam around the end of the century.

MasterWork™
Greenwich Workshop Fine Art Giclée Canvas:
limited to 45 s/n.
38"w x 24"h.
$750

Benediction
by James C. Christensen

"The words coming out of this angel’s mouth are purposely provocative and designed to make you wonder 'What does that mean?' It’s Latin, beatus est pisciculus, meaning “blessed is the little fish.” Floating fish symbolize the magic all around us and they are blessed little things themselves, to bring this magic into our lives. Is the angel blessing the fish or the fish blessing the angel? The fish is a symbol I frequently use and this painting was meant as my 'thank you' for a lot of the magic in my life."

Christensen’s original painting is 48 x 36 inches. Our Anniversary edition is released in two sizes, a very limited quantity at a major-statement size of 40 x 30 inches, and also at 24 x 18 inches. The blessing of Benediction works beautifully at either size.

MasterWork™
Greenwich Workshop Fine Art Anniversary Giclée Canvas:
Edition not to exceed 50, signed by the artist.
40"w x 30"h (unstretched).
$995

Greenwich Workshop Fine Art Anniversary Giclée Canvas:
Edition not to exceed 300, signed by the artist.
24"w x 18"h.
$495

Grandpa's Blessing
by Z.S. Liang

Z.S. Liang continues to be one of the most important artists painting the history of the American West today. His track record of sold out original shows and Fine Art Editions attest to the regard for the painter today and the perception of the potential for his work tomorrow. He has a particular knack for portraying intimate details of Native American life, even when his canvases are epic in scale.

“Since early in the 17th century,” begins Liang, “when the horse was introduced to the American Indian on the northern Plains, their life was changed forever. The use of the horse for buffalo hunting made the hunt much more efficient and provided the people with a rich bounty. This exuberant scene shows a summer day in the Blackfeet band camp during the 1870s, after the buffalo scouts have located a large herd nearby. The men gather to ready their buffalo horses, while women excitedly prepare packhorses, travois and meat bags for the coming chase! With this excitement also comes concern, for running the wild herds over the broken country of the Western prairies held a high degree of danger for the mounted hunter. In the painting, a grandfather ties an eagle feather on his grandson’s horsetail as a blessing of safety before the run begins.”

The original of Grandpa’s Blessing is a substantial work, with a great deal of its impact coming from its size, intimate relationships portrayed on an epic scale. So, it would only be fitting that we reproduce it in our largest Fine Art format, a MuseumEdition Giclée Canvas. However, we will only be producing 12 pieces in this 42” x 61” size, so don’t take long to decide. With an edition of only 35, the 22” x 32” Giclée Canvas certainly will disappear quickly as well.

MuseumEdition™
Greenwich Workshop Fine Art Giclée Canvas:
limited to 12 s/n.
61"w x 42"h (unstretched).
$3250

Greenwich Workshop Fine Art Giclée Canvas:
limited to 35 s/n.
32"w x 22"h.
$895

Lucky Catch
by Bonnie Marris

“The scene is my favorite wolf-viewing position near our campsite in Alaska,” said the artist. “I always think of this stream as “gold creek” because a legend still persists that gold was discovered here, and a miner’s shack in the vicinity still survives to feed the myth! I watched as these two adults separated from the pack to hunt and fish and one of them did get lucky with a Dolly Varden trout.”

This year marks twenty-five years of Bonnie Marris Fine Art Editions from The Greenwich Workshop so it is serendipitous and fitting that her newest release is a subject close to her very first limited edition with us in 1985. In that edition, titled “The Fishing Lesson,” a mother wolf watches her two cubs at the rocky edge of water as they peer down at what could be dinner if only they figure out how to catch it.

Flash forward 25 years to Lucky Catch, the artist’s 2010 Masters of the American West entry at the Autry National Center. We see two full grown wolves flourishing in their natural element with grace and poise, having mastered the challenges of life in the wild. We couldn’t think of a warmer metaphor for the artist we have published and loved for all these years.

Greenwich Workshop Fine Art Giclée Canvas:
limited to 75 s/n.
36"w x 24"h.
$795

Cautious Observation
by Cristina Penescu

Welcome Cristina Penescu to the Greenwich Workshop Family of Artists! If you think these are photographs, you better look again. They are scratchboard renderings by one very talented young woman. Cristina was born in Bucharest, Romania, 1988 and her family relocated to California when Cristina was just a year old.

At 21, she is as accomplished as an artist twice her age. Her perspective is fresh and is reflected in her approach to the classic scratchboard medium, balanced by a maturity that both she and her work carry. It is a trait, we have found, that is common to the artists Greenwich ends up publishing for decades.

“Cautious Observation is a scratchboard portrait of a wolf dog that I was blessed to share my life with,” relates Cristina. “He possessed an almost childlike curiosity for the world around him. One day, while testing some photographic lighting equipment outside, he approached me, curious as to what I was doing but uncertain about the new, large equipment I was working with. This was his reaction to everything he considered new. With this portrait, my goal was to capture that inner conflict between curiosity and uncertainty as if he is examining the viewer for the first time, trying to decide whether or not to approach.”

Greenwich Workshop Fine Art Giclée Print:
limited to 250 s/n.
11"w x 14"h.
$115

Desperation
by Cristina Penescu

Welcome Cristina Penescu to the Greenwich Workshop Family of Artists! If you think these are photographs, you better look again. They are scratchboard renderings by one very talented young woman. Cristina was born in Bucharest, Romania, 1988 and her family relocated to California when Cristina was just a year old.

At 21, she is as accomplished as an artist twice her age. Her perspective is fresh and is reflected in her approach to the classic scratchboard medium, balanced by a maturity that both she and her work carry. It is a trait, we have found, that is common to the artists Greenwich ends up publishing for decades.

She enjoys painting a wide variety of wildlife subjects, however wild canids, especially wolves, hold a special place in her heart.

“Desperation carries a message that, as a lover of wildlife and nature, I wish I did not need to voice. This piece was created as a direct response to the ongoing hatred and persecution that plagues these beautiful canids. Is this wolf crying out in defiance? Anger? Anguish? That is for the viewer to decide.”

Greenwich Workshop Fine Art Giclée Canvas:
limited to 75 s/n.
16"w x 20"h.
$345

Greenwich Workshop Fine Art Giclée Print:
limited to 250 s/n.
11 1/4"w x 14"h.
$115

Fuel State Critical — Outcome in Doubt
by William S. Phillips

The Raider’s carrier task force (TF-16) was spotted by Japanese vessels well before they arrived at the intended departure point so the Raiders were forced to launch from the carrier Hornet earlier than planned.  Fuel calculations now fell short of the planned amount needed for their destination, Chuchow, China. Their arrival in China would be at night, rather than during daylight as originally planned.  Fortunately, sailors on the Hornet filled ten, five-gallon gas cans and passed them hand-to-hand to each aircraft,  providing the fuel that made the difference between pitching at sea and coming down over land.

In this, William S. Phillips most recent historical documentation on the Doolittle Raid, General Doolittle and his crew in aircraft 02344 break into a momentary area of clear sky. The last rays of sunlight bring only slight hope that they will survive their ordeal, as their fuel levels continue to fall and the hour of landfall is uncertain.

Fuel State Critical—Outcome in Doubt is countered-signed by four of the Doolittle Raiders. The signing of the print took place at their   April 2010 reunion in Dayton, OH. They include the Crew 1 co-pilot of Doolittle’s plane (the B-25 depicted here), Colonel Richard E. Cole, Lt. Colonel Robert L. Hite of Crew 16, Major Thomas Carson Griffin of Crew 9 and Staff Sergeant David J. Thatcher of Crew 7.

Phillips’ Personal Commission Edition of the previous Raiders Fine Art Edition, Toward a Setting Sun,reached an edition size of 298. Given that there are only 100 in the edition of Fuel State Critical—Outcome in Doubt, this piece of history won’t last long!

Greenwich Workshop Fine Art Giclée Canvas:
limited to 100 s/n.
24"w x 12"h.
$495