ERNST & ERNST Collectors Gallery
2002 - 2004
For several years this was the website for the ERNST & ERNST Collectors Gallery.
Content is from the site's 2002 -2004 archived pages.
Yelpers have reported the gallery has closed.
Ernst & Ernst Collectors Gallery has been in business since 1989.
We feature Limited Edition Artwork including:
- Fine Art prints and canvases
- Porcelain Figurines
- other speciality items by many of today's most popular artists.
If you will be visiting the Oregon Coast, we hope you'll plan a visit to our galleries in Cannon Beach and Seaside.
We are located at:
224 North Hemlock, Suite 1
Cannon Beach, Oregon 97110
Seaside, Oregon 97138
If you would like to ask a question or if there is a special piece of art you are looking for, please feel free to e-mail or phone us on our toll-free numbers:
Cannon Beach 800-289-1819
We are open every day from 10am to 6pm (beach time).
- Those blustery afternoon winds...
- 5 - 7: The Stormy Weather Arts Festival is a yearly event sponsored by the Cannon Beach Chamber of Commerce with events throughout the city.
- 5 - 7: William S. Phillips, Lynn Bredeson, and Beads in Harmony will be visiting our gallery in Cannon Beach.
- New Years Eve is a great experience at the beach!
- It is a New Year!
- 15 - March 15: Annual Framing Sale!
All new framing orders and all frames in the gallery are 20% off...
- It's our 15 Year Anniversary!!!
The Annual Framing Sale continues through the 15th!
All new framing orders and all frames in the gallery are 20% off...
- 30 - May 2: The 4th Annual Spring Unveiling.
- June Carey and Lynn Bredeson will be visiting our gallery in Cannon Beach.
- 1 - 2: The 4th Annual Spring Unveiling continues with June Carey and Lynn Bredeson.
- 5: The 40th Annual Cannon Beach Sand Castle Contest.
- 22 - 30: Cassie Christensen Barney and Dan Barney will be visiting our gallery in Cannon Beach.
- 2 - 10: Wildlife artist Simon Combes will be visiting our gallery in Cannon Beach.
- 14 - 21: Wildlife artist Rod Frederick will be visiting our gallery in Cannon Beach.
- 20 - 29: Braldt Bralds will be visiting our gallery in Cannon Beach.
- Back to School...
Fanciful Realist | Whimsical Realism
Although beloved in this country for his fanciful yet exquisitely detailed, realistic images of cats in repose, Bralds’ illustrious career includes many other accomplishments in both national -- and international -- commercial, as well as fine art. It all started in The Netherlands, where Braldt grew up in Rotterdam, fell in love with art, and impressed his countrymen with one success after another in the advertising art field. His fame preceded him to the United States, where, on a two-month visit during 1978, he was commissioned to do a cover for Time.
It was a prestigious start that gave Bralds a “feeling of good fortune,” so he moved to America. His work appeared in everything from Newsweek to TV Guide and from Rolling Stones to National Geographic. But, in addition to his advertising and illustration work, Bralds was also dedicated to fine art.
And he has more than his share of muses. While one inspires him to paint whimsical cats, another urges him to express his more serious, contemplative side. Bralds’ series of remarkable “rock paintings” which explore relationships and romance, has been honored with a one-man show at the eminent Gerald Peters Gallery in Santa Fe.
Bralds has received three gold medals as well as the Hamilton King Award from the Society of Illustrators. One of the artist’s highest honors was being inducted into the Holland Illustrators Hall of Fame in 1998. Braldt has also served on the International Advisory Board of the Art Institutes International, which established a Braldt Bralds Illustration Scholarship in 1993.
Northern New Mexico
The Greenwich Workshop since 1995
Preferred medium: oil
“Even as a kid I loved looking at the detail in Old Masters’ paintings and I believe this has translated itself into my work. I don't know how not to paint detail! Being that I have this ongoing affection for cats, it was bound to happen that these two interests often would meet in my painting.”
“Ideas to me, are just part of who I am -”
I'm a colorist and mainly a contemporary landscape painter. I am also addicted to collages and constructions. My technique has evolved over the years. I work mainly with acrylic paints and then draw over the painting with wonderful, soft, oil pastels. Painterly I'm not; my strengths are in color, form, texture, and contrast. I prefer to do suites of work, which I have been doing since my college days. Typical suites are from six to fifteen paintings. My beginning is preparing the canvas and the studio. I read, draw pages of single, one-inch square thumbnails depicting the roll of the landscape and some how it all comes together. I tear my canvas, giving more texture and spirit to the paintings. I then draw on my canvases, giving them the first of many washes of color. Next, I hang them on my studio wall and write notes and perhaps a drawing about each image. I begin again, following my notes (not always) until the pieces are right with me.
The next day I return to the studio and look at the pieces with fresh eyes. This is also the time when I might pull out pieces that aren't working. I believe re-working a painting and studying the ones that won't work can bring much wisdom. After all of the paintings sit right with me, I bring out the oil pastels. It is then time to draw - embellishing the landscape over the color-filled acrylic. Oil pastels are sensual, bright, fragile,a nd messy - a stick can be used up in minutes! I use dots of color, as symbolism, or as a technique to bring out a color or area, or to tone down. I think the dots as points of interest. The drawing brings texture and spirit into the work.
Again, I hang the pieces on my studio wall and note any changes that are needed. The hand-painted border is last. I love borders and have been using them for years. They can set a mood with color by bringing out the painting or subuding it. Maria Montessori taught and believed in 'freedom within structure'. Perhaps the border is my structure. The pieces at this point have been signed and all that is left to do is use the left side of my brain and entitle, inventory, and photograph every one of them!
Preferred medium: Acrylic Paint and Oil Pastels
Water Song I
“My inspiration comes from life inside and outside of me. I love colour, dream colour - it is my soul food!”
Artist for All Time
His technique has come from more than four decades of education and professional commercial illustration. But the skill that illuminates and informs his fine art comes from his personal passion to go that extra mile...to make it right for all time.
That passion and compassion gives John Buxton’s historical paintings a strength, even majesty, that his earlier commercial work may not have possessed. Having received his degree from the Art Center School in Pasadena, California, he lived in Pennsylvania and illustrated other people’s work while savoring the history of his home state. But after working with the book division of The National Geographic Society, it came time to start thinking about leaving editorial illustration for something more personal. Finally, it was the power of choosing his own subjects which helped Buxton take the major step into fine art.
“I left the commercial field to paint the history of Western Pennsylvania,” he says. Living there in the rolling hills, he heard the echo of all that had taken place, “as it influenced our young America of the 18th century. It happened right here in my backyard, so to speak.” His long developed technique, combined with his renewed enthusiasm, couldn’t help but speak to viewers, for whom he helped make history come alive.
The Greenwich Workshop
Preferred medium: oil
“(While working with) National Geographic, I learned their philosophy; make it correct for all time. I like that. After being a successful illustrator for over thirty years, I kindled a latent admiration for going that extra mile. I apply this approach to painting the young America of the 18th century.”
“A still picture gives me something I do not get from a photograph -
I am quite an energetic painter, I paint quickly and losely with large brushes to create a base. I focus on the whole area to achieve a harmony of colour and composition before I start to work into certain areas. This is why I love oil, along with a rigid surface to paint on. I can really manipulate both, putting paint on and taking it off at any stage throughout the whole process.
I like to leave an initial painting to dry and then re-work it with further washes, picking out certain strokes. I find that this adds another depth and translucency to the paint. It also helps to create the feeling of space and distance. Oil also gives the freedom to move the paint around as much as I like. I love the versatility of oil. I use the paint straight from the tube, as well as in very thin washes, which enables me to create a balance of colour that ties the whole picture together. This balance is important to me. I always want the painting to look natural. It is this balance, along with the light that helps to create a peaceful, tranquil look. It is the ability to describe the atmosphere in this manner that I wish to achieve. To me that is what provides an individuality to the painting.
Published by Washington Green since 2001
Preferred medium: Oil
I don't paint a particular subject, I try to depict an atmosphere, which can be anything from relaxation, solitude, comfort or something that makes me feel at ease when I look at it.”
“From the moment the canvas goes on the easel, I know how I want the finished article to look.”
Interestingly, my technique of painting is very different to the painters I mention as being inspirational (Monet, Crot, sisley, Seago). All four are known for applying the paint quite heavily, in a loose, sometimes impressionistic style, whereas my work is more controlled. I have heard it described as being very refined, which was nice. I have tried to loosen up, but development should come naturally and not be forced.
Most of my paintings are now on canvas, apart from some minatures, which I do on prepared panels. From the moment the canvas goes on the easel, I know how I want the article to look. This was one of the most important things my father (Gerald Coulson) taught me. I start by covering the canavas with a base cover of colours and the tones I am going to use, a primer coat if you like, and I do this in acrylic paint because it dries in minutes, not hours like oils. When dry I proceed on the painting, using oil paints and mediums and building up layers of colour and tone to achieve what I hope is a very clean, clear painting. I don't mean clinical, just not daubed. As oil paints can take several hours to dry I tend to work on several pieces of work at any one time. You can get to a certain point on a painting when you cannot do anymore until the painting is completely dry. For this reason I do not know exactly how long any one picture takes to paint, but I do know that osme of the most successful are also some of the quickest.
Cambridgeshire Fens, England
Published by Washington Green since 1998
Preferred medium: acrylic & oil
Walking the Tide
“My paintings have always been based on the English landscape. I have dabbled in other things, but for me its landscapes that have held the most interest. I feel a huge amount of satisfaction in trying to create the tension that feels the air just before a thunder storm, or the atmosphere of being the first on the beach on a cold Autumn morning.”
Lynn's paintings are first drawn in light pencil on 140 pound hand-made paper. She then uses a technical drawing pen to ink in the areas of choice. Next, Lynn applies one coat of acrylic paint and allows it to dry overnight. [This helps size the paper a bit.] Lynn then begins to layer thin coats of acrylic paint until she thinks she should stop! She lets it dry and goes over everything with pen. Lynn finishes with touch-up paint, uses colored pencil and sprays with UV spray to deepen the color and set the color for years to come.
Lynn gets ideas from her day-to-day life. She uses bits and pieces of the images from books, magazines, and events she enjoys. Because Lynn is not a photo realist, she finds any photo she does use takes on a life of its own - but she does use them for a point of reference.
Published by Lynn Bredeson
Preferred medium: ink
Victorian Bunny House
“I usually loose track of time and when I am done there is an animal carrying on in some unrealistic fashion. I do love animals, so they have become a focal point in my work. I think we give animals more slack than we give our selves. They can be large, small, and any color. They are not judged, but totally accepted and appreciated for their unique characteristics. They always look like someone we know and draw us magically to their side. Yes - I do paint people too!”
Storyteller of theNew West
Formerly a successful architect, Nelson credits “gestalt,” a principle used in architecture with the birth of his signature style. The artist uses the theory to show -- but not tell -- intriguing tales of the New West. Consider his painting Cowboy Romance. We see a cowgirl and rugged cowboy holding delicate flowers in his well-worn gloves and he’s humbled to the point of kneeling down. The direction the story takes -- whether the cowgirl will accept his proposal or ride off into the sunset alone -- that’s up to the viewer.
Another reason Boren’s art has been hard to miss is that perhaps no other artist combines so much detail with such big, bold graphic images as big as the Montana sky -- well, almost!
Boren himself attributes his unique viewpoint with a lifelong love of both art and math. His mother was also a painter who in the “psychedelic 60,” only allowed him to hang posters in his bedroom that he had painted himself. Perhaps looking for order in a world that was increasingly turbulent, Boren pursued a degree in architecture at Arizona State University, which left very few electives. The first one he chose was a watercolor course.
Increasingly disillusioned with the demands of owning an architectural firm after fifteen years of hard-won success, he and his wife decided to move their family to Northwest Idaho to seek a more peaceful life and to pursue his dream of painting full time. Soon after, major galleries were asking to represent his paintings. Today, Nelson's work is in collections in the Whitney Museum of Western Art as well as galleries at the Coca-Cola Company and the Dallas Cowboys football team headquarters.
Published by The Greenwich Workshop since 1999
Preferred medium: watercolor
“Long ago I found a photograph of a cowboy who was visible only from his shoulders to his knees. I wondered where he was going. The image invited a story and I thought, ‘that’s gestalt’ -- when you have an incomplete image and your mind consciously or unconsciously completes it.”
“With the vigor and brushstroke of an impressionist, Luke Frazier has caused a sensation with animal painting that seems well beyond his years,” reported Wildlife Art magazine. This gifted young man represents a new generation of wildlife and sporting artist in both originals and fine art print and his success was immediate.
After an impulsive trip to New York garnered him illustration work for three leading publications -- Reader’s Digest, Field & Stream, and Alaska magazines -- Frazier never looked back. Since then, his first one-man show sold out on opening night, he has had more than a dozen pieces chosen for the Arts for the Parks annual Top 100 and has won the National Parks Wildlife Art Award three times.
Frazier adds about his art, “I grew up fly fishing, exploring, and hiking on high mountain lakes. I also developed an early love for nostalgic paintings so it’s natural that I give my paintings a feeling of the past. I want them to create a mood, evoke an emotion, tell a story, or ask a question.”
Even while studying engineering at Dixie College, Frazier kept returning to his childhood habit of sketching and sculpting wildlife. Finally, he realized that art was his life and transferred to Utah State University where, as a freshman, he won his first competition. Frazier graduated with degrees in painting and illustration, thinking himself lucky if he could make art even a part of his career. Indeed, he has. His success has allowed him to do what he enjoys most; travel, explore, fish, paint on location, and spend time with his family.
Published by The Greenwich Workshop since 1997
Preferred medium: oil
“Experiencing the outdoors and having a chance to actually see these elusive creatures is amazing and I want to share that. If you see one of my paintings and feel like you’ve been there and witnessed what I’m depicting, I will have succeeded.”
James C. Christensen
Professor of Imagination
Inspired by the world’s myths, fables, and tales of imagination, James C. Christensen wants his paintings of floating fish, “puffy guys” in ornate costumes, angels, faeries, magical realms, and more to add up to more than a beautiful, if sometimes “curious,” work of art. Recently retired as a professor of art at Brigham Young University for over 20 years, Christensen continues as a “Professor of Imagination.” His hope is that through whatever he creates he conveys a message, inspiration or a simple laugh. Christensen believes that teaching people to use their imagination helps them keep going. In short: all things are possible when you share his philosophy that “Believing is Seeing.”
Christensen's prestigious commissions include the Utah Shakespeare Festival, the LDS church, Time/Life Books, and Omni among others. He has won all the professional art honors the World Science Fiction Convention can bestow as well as multiple Chesley Awards from the Association of Science Fiction and Fantasy Artists and his work is prized in private collections.
Published by The Greenwich Workshop since 1985
Preferred medium: oil and acrylic
Flight of the Fablemaker
“Life seems to be more complicated than ever. And, all too often, too serious. I use my artwork to ease the burdens of everyday stuff. My characters deal with the same problems we all face in what we call ‘life.’ Their unique point of view helps me put my own problems in perspectice with a smile -- and hopefully yours. We are all on this journey together and anything we can do to help each other is a good thing.”
Artist, chronicler, and part Indiana Jones, Simon Combes leads a life of adventure. Born in England and raised on an 800-acre farm in Kenya, Combes’ adventures include managing a 2,000-acre farm, fighting a guerilla war with Somalia, and training Uganda’s infamous Idi Amin -- all of this before he dedicated himself to becoming a full-time artist. Combes learned to draw while on duty in the northern desert and was invited in 1969 to stage an exhibition in Nairobi’s New Stanley Art Gallery. Five years following that show’s great success, Combes was permitted to leave the army, so he set out on a more creative career.
Since then, he has become best known for his stunning images of the landscapes and wildlife of his beloved Africa. Combes is not only a man of art but also letters. He is a delightfully entertaining chronicler of his travels. His recent pursuit of painting the elusive and endangered “great cats” of the world led him to the plains, jungles, and snow-covered landscapes of Africa, South America, North America, and Asia and resulted in a stunning series of limited edition fine art prints and the publication of Great Cats: Stories and Art from a World Traveller. Combes has also begun to paint North American wildlife in between his regular visits to his home in Kenya.
Simon was chosen “Artist of the Year” by the Pacific Rim Wildlife Art Show in 1994, has received the Society of Animal Artists’ Award of Excellence and has raised thousands of dollars for conservation including the Friends of Conservation, whose patron is Prince Charles. His works are in private collections world-wide.
Idaho and Kenya
Published by The Greenwich Workshop since 1980
Preferred medium: oil
Eyes of Warning
“I hope my art brings attention to the beauty of wildlife -- especially African wildlife -- but also makes people aware of how precious it is and that we all must do our part in preserving it. My plans? Keep painting animals, especially those in danger of extinction. Do anything tht involves travel and adventure. Don’t gather moss.”
Look Beyond the Obvious
The name Bev Doolittle is synonymous with the term “camouflage art,” a term which did not exist before the release of the artist’s groundbreaking image Pintos in 1979. Nevertheless, it has always been the stories and ideas behind Doolittle’s art which have intrigued her the most, remaining adamant that her use of camouflage is a means to an end -- and not an end in itself -- to convey her messages about wilderness, wildlife, and Native American culture.
Since the first and infamous print, Doolittle has been nothing less than a fine art phenomenon with her edition sizes and sell-out rates setting records and her exquisitely detailed and beautifully rendered prints bringing enjoyment of art to entire families.
She developed her approach to art after graduating from the Art Center College of Design in Los Angeles and working in advertising, where she met her husband Jay. The two decided to leave the city and spent time traveling and painting. Her success since she was “discovered” in 1979 has allowed Doolittle and her publisher to give generously to such heartfelt causes as the National Wildlife Foundation, the National Museum of the American Indian, the Juvenile Diabetes Foundation, and others.
The Art of Bev Doolittle has over 400,000 copies in print and The Forest has Eyes, her first children’s book, prepared the way for what has been called “a new family classic,” The Earth is My Mother.
Bev Doolittle remains committed to exploring artistic ideas with The Greenwich Workshop when and as they inspire her.
Southern California Published by The Greenwich Workshop since 1979
Preferred medium: watercolor
The Earth is My Mother
“I want to change the experience of seeing...to have people think when they look at my paintings. I regard myself as a ‘visual storyteller’ -- using camouflage as a technique to slow down the viewing process, but my meaning and message are never hidden.”
To dream is one thing. To create that dream with single-minded artistic determination is another. James Gurney is that rare artist for whom childhood fantasy became an adult reality, with all his experiences and accomplishments contributing to the knowledge needed to make the dream come true. The concept is simplicity itself: what if dinosaurs evolved into the intellectual equals of man and remained alive on a single, mythical island? Not a utopia, but a “Dinotopia,” with a science and lifestyle far more Earth-friendly than our own.
To create this world, Gurney needed knowledge...a lot of knowledge. He graduated from the University of California at Berkeley with a degree in anthropology, then studied further at the Pasadena Art Center College of Design. Following years of free-spirited travel and commercial artwork with fellow artist Thomas Kinkaide, Gurney continued his creative quest with more than seventy paintings for book covers, but really reveled in his illustrations of ancient worlds for National Geographic magazine.
Finally, he was ready to realize his dream, and Dinotopia was created through a series of prints, posters, and a book. More works of art and books have followed (Dinotopia: The World Beneath and more recently Dinotopia: First Flight), in addition to many other tie-in products. A made-for-network television epic is also planned. Gurney has remained on the forefront of dinosaur research, making his creatures scrupulously accurate in addition to being wise and ecologically correct.
Upstate New York
Published by The Greenwich Workshop since 1990
Preferred medium: oil
“Ever since my parents first set me in a sandbox, it has been my dream to create a world. Not just a pretty castle, but a whole world complete in every detail -- so real I could step across some magic threshold and disappear into it. for me, Dinotopia is the answer to that dream.”
Editor's note: One of the artists who chose to be omitted from this notables list was sculptor Eduardo Pesce Andamo. His amazing story, a poor Mexican immigrant who was discovered by accident and became a rising star in the Northwest art scene after overcoming drug and alcohol addiction. In an interview, he told us that he did not seek fame and that all the attention he received from the press only caused his work to decline as it distracted him in harmful ways. He expressed regret that he had wasted so much of his life inebriated when he could have contributed to his family. Contacted by Save A Life when he appeared to be homeless, the social workers offered to help him shake his addictions. He volunteered to be a human guinea pig for a new anti-alcoholism treatment. Once free of his demons, Mr. Andamo became hugely productive, creating many of the works exhibited in this gallery. We feel it is important that we include this artist in the public record, even if we can no longer show his work.
What does sold out at publisher mean?
Sold out at publisher does not mean you can no longer purchase the piece of art. It does mean that the piece is no longer available from the publisher at the stated list price ("the primary market"). You can request our gallery to check on the availability of the piece you are interested in on the secondary market. We will look for the piece you are inquiring about and let you know whether or not it is available and what the current market price is for that piece. You can then decide whether or not you would like our gallery to obtain it for you.
What is a limited edition print?
A limited edition print is created by a complex photo-mechanical process called “offset lithography”. This process is used to replicate original works of art onto paper. This process involves many steps.
- It begins with photography.
- Then the separation of the image into four “process” colors: cyan, yellow, magenta, and black.
- This is followed by the creation of screened “half-tones” and color proofs.
- Then the “stripping” of these halftones onto metal printing plates.
Increasingly, the steps prior to printing are performed digitally.
- To print, inks are carried by rubber rollers called “printing blankets” to stripped metal plates to paper. [This is where the term “offset” comes from.]
- Each color is printed separately so the paper may go through the press numerous times.
While the industry standard for printing offset lithographs is often only four colors, Some publishers, such as Greenwich Workshop, routinely add additional “touch” colors resulting in exceptional color, clarity, and fidelity to the orginal painting. In addition, they collaborate closely with the artist during the color proofing and correcting process. Only when the artist is satisfied is the print edition finally run and each print personally approved with the artist's signature - a process which takes many months from start to finish. The result is a limited edition fine art print which, if properly cared for, can be treasured and enjoyed for generations.
An example is Flight of the Fablemaker by James C. Christensen.
What is a remarque?
A remarque is an artist's small original sketch. A remarque is usually related to an art print - a different perspective on something within the print or to highlight something within the print with additional detail. The remarque may be in pencil or in color.
What is a fine art canvas?
To create a fine-art canvas, offset lithographic printing is applied directly to the canvas using nearly the exact techniques by which offset lithographics prints are created. The process has been adapted for printing in this medium with excellent results. And, like an original painting, a fine art canvas offers the benefit of framing without glass. Generally, “texture” in this process comes from the canvas itself and any additional original painting and enhancements to the canvas readily stand out.
From time-to-time, some publisher's artists, such as Greenwich Workshop artists, will hand-paint on each canvas, making each one an “original”. Greenwhich Workshop does not use a studio approach; all hand-painting is done personally by the artist.
What is a textured canvas?
This unique technique replicates the look and feel of an original painting, including canvas texture and the artist's original brushstrokes. The image is first printed by offset lithography with oil-based inks on a thick piece of oil-based material. A mold of the original painting can be used as a guide to create a feeling of brushstrokes, or the artist can re-create the brushstrokes him or herself. The mold is used with heat and pressure to bond the printed image to artist-quality canvas.
An example is Council of Chiefs by Howard Terpning.
What is a giclée canvas?
This technique is also referred to as Iris printing, after the brand-name of a particular ink-jet printer, which is used to create limited editions on canvas as well as paper. Each second, the ink-jet printer produces over four million extremely fine droplets of ink that combine to form more than two thousand shades of color resulting in an image of execptional clarity and color fidelity.
What is a canvas transfer?
Canvas transfer is a generic term which typically refers to a chemical process by which inks are lifted from the original medium (usually paper) to another (canvas). Most inks, papers, and printing processes were not designed for this use, so there can be a breakdown in color. Image fidelity is difficult to control. Some publishers, such as Greenwich Workshop, do not use this method.
What is a fine art serigraph?
To create a serigraph is an exacting process. Also commonly known as silk screening, serigraphy is a time-honored technique, based on stenciling, for creating prints by hand. Ink or paint is carefully brushed through a fine fabric screen, portions of which have been masked for impermeability. For each color, a different portion of the screen must be masked and each color must be allowed to dry before the next is applied. Masking stencils representing up to 100 individual colors, created by a "chromist," are embedded into the fabric, and ink is passed through a squeegee on the paper creating a texture on the surface. Serigraphs are best known for rich and vibrant color. Greenwich Workshop creates their serigraphs from the original painting, and the artist can see and adjust the evolution of the colors through many proofing stages. The depth of color in the resulting fine art serigraph is almost luminous.
An example is Intimacy by Thomas Blackshear II. More than 120 hand-applied colors were used to produce this serigraph.
What is a serilith?
This is a Greenwich Workshop proprietary process which combines the wonderful, soft line quality and tonal gradations of a lithograph with the brilliant color and textural range of serigraphy.
An example is The Red Flute by Ken Riley.
What is a fine art giclée?
These are created by specialized printmakers who have customized ink-jet technology specifically for fine art. This technique is also called Iris Printing, after the brand-name of the particular ink-jet printer. Each second, the ink-jet printer produces over four million droplets of ink that combine to form more than two thousand shades of color.
An example is Blackfoot Ceremonial Headdress by James Bama. This was printed on the same archival watercolor paper that Bama used for the original painting and must be treated carefully. Greenwich Workshop giclée prints on paper are identified by the chop marks of the printer and The Greenwich Workshop.
What is a fine art lithograph?
Fine-art lithographs are created by hand in a process that dates back to the 18th century and is the origin of the modern offset lithographic process. A separate plate is used to print each color (33 in the example, Summer Mist) and each plate is hand-drawn by the artist or a chromiste. The plates are printed one at a time and each color is allowed to dry before the next one is printed, giving the artist an opportunity to see how the colors are building and to make changes, if necessary.
An example is Summer Mistby Paul Landry. A Greenwich Workshop “fine art” lithograph is published from an original painting; an “original” lithograph is created directly on the plates without an origianl painting as a guide. The Greenwich Workshop does not overlook this distinction.
What is a mixed media print?
This is a print that has been created with a variety of traditional print-making processes to best express the artist's work.
An example is Summer Potpourri by Paul Landry.